Research Paper On Breakfast At Tiffany's

The definition of the word feminist, derived from the word feminism, means to advocate for women’s rights in the interest of political, economic, and social equality. Feminist literature entails a woman who is strong, yet isolated and often misunderstood by society. This heroine challenges stereotypes and the status quo; for example, Joe March, from Little Women, who seeks to become a writer in a male dominated industry. Elizabeth Bennett, Pride and Prejudice, denies a wealthy gentleman’s marriage proposal because of his apparent indifference towards Elizabeth and his verbal transgressions against her family. Joe and Elizabeth’s pride is nearly their downfall, rescuing themselves from unfulfilled lives. Truman Capote’s Breakfast at Tiffany’s is not feminist literature, but a morbid rendition of Cinderella: a story of a girl who attempts to defy the wheel of Fortune, and rather than thriving under her newfound liberation, she becomes a mere ghost in the minds of her friends, presumably dead. One would expect a feminist character to transcend above society for self-improvement and not associate with worldly offenses towards females. Holly Golightly does not transcend, but impassive and impartial to political and social inequality. She does not think “we”, but

Holly Golightly escapes “Lulamae” and Doc, taking her life into her own hands. She overcomes the restraint of the “evil stepmother”, or in this case, poor housewife, and transforms herself into a princess, Holly Golightly. While not a feminist, she is a heroine, though not receiving her “happily ever after”. Instead, the reader is left with a “sadly ever after” and though tragically redeemed much like O’Connor’s grandmother, Holly is left destitute or deceased in a faraway