Books of the Southwest presents THE HERMES IN BREAKFAST AT TIFFANY’S happening in art and reality (and a false reality presented as relatable, sellable biography with no actual truth) to break open that wrong in self-realization for a monumental, global cause. The world-altering artists are in full brilliance and action. As literature shows, they are always necessary especially when freedom and spiritual abundance is threatened and not communicated in the eternal-breaking-through consciousness and Being way, as Homer showed in his epic song, manipulative and cheap rumor (publicists feeding tabloids with a false "conversation" with the public who naively believe they are listening to a 'close, reliable friend'). This comes from an awareness in 750 B.C. and back further. The eternal artistic voice is always internally realized in immediate truth, then just as immediate in the "here and now." Penelope, as the state of internal Beingness, the eternal of her in her (body) "chamber," is the one who speaks the difference of Beingness, which is the opposite of Narcissistic Personality Disorder that defines a very limited, blind culture and existence. It is only a "repetition" of what is heard and not true being fully alive. This escalation of untruths began coming to the challenge of consciousness with a pre-meditated concocted lie about John Mayer in October 2010 brewing from 2008 from a young plagiarist bought entry into the "music" industry with hired marketers and publicists from a capitalist's greed, but with no powers of creation or original content, only repeating what she saw around her and calling it her own. This is the test of the value of art for freeing a culture.
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How Willa Cather's Breakfast at Tiffany's Began in the Village (1908), Falling in Love with John Mayer in 2010

"How Willa Cather's Breakfast at Tiffany's Began in the Village (1908), Falling in Love with John Mayer in 2010"

My heart map of Greenwich Village, 2010

"How Willa Cather's Breakfast at Tiffany's Began in the Village (1908), Falling in Love with John Mayer in 2010"

A romance on top of a romance, a movie across a century, and a reality of falling in love and having the sweetest, most quiet relationship with @johnmayer .

This is where writing screenplays at the time of first coming to know John became looking closer at the movie Breakfast at Tiffany's and the writer Willa Cather's work which first developed right on Washington Square Park. My screenplay sequel "Dinner at Tiffany's" which takes place "after the ending credits kiss" into what love actually is that I had worked on drafts for years, morphed into coming to know John there in NYC, and then the miracles that occurred spontaneously with Willa Cather's writing right with what was happening, like a fountain of sculpted birds and Willa's scene of the Madeleine and birds occurring when John first played "A Face to Call Home" at the Village Underground, about two blocks over from where Breakfast at Tiffany's ("Coming, Aphrodite!") was first set on Washington Square South; like walking into Willa's photograph in 2008 into a camera shop on a street in front of a cathedral in Santa Fe exactly on the 500 year anniversary of Michelangelo painting my name on the Sistine Ceiling. That street scene would become the miracle of discovering what Audrey's iconic opening street scene is actually doing, having its own miracles and telling across time. It was tremendous that it all converged into the very same thing--loving John across all this time since the first time I saw him, the movie, the art, revealing that Willa Cather is the actual author of Breakfast at Tiffany's and that Audrey Hepburn was setting things right through her character and spirit.

The universe was showing me what love is when I struggled to write the draft.

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