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Audrey Hepburn’s inherent soft, deeply caring nature may not have been written into the roles she played, as in Breakfast at Tiffany’s, Paris When It Sizzles, or My Fair Lady, but there was a hope in her that she could soften the world to care, and that is what her vulnerability and courage brings from her own light, shining through the movie screen and enduring beyond it for an influence even now, possibly even opened more now as we redefine ourselves away from structural and behaviorally-patterned authority.

Upon Willa Cather’s return home to New York in June 1912 from her inner-depth-shifting train trip to the American Southwest to Arizona and New Mexico, coming by train through our forest and near our home (me and my boys) that would be built here exactly 100 years after her birth in 1873, her short story “The Bohemian Girl” (written before she left Cherry Valley, New York) was published two months later in McClure’s Magazine August 1912 issue, setting up New York City for its most iconic female story ever.

Willa Cather was working on an electrified, inspired trajectory in her writing from the moment of her realization in the American Southwest in 1912 and it matching the rootedness she felt in the land and culture in Provençe she had discovered on her first trip there in 1902 (already well-versed in its literature), but here it was full of spirit and possibility, wild, free and boundless; in Provençe it was carefully rooted, cultured, tended, religious, even in a secular way. 

This is a look at the textual evidence of Willa Cather’s oeuvre, Truman Capote’s raiding and plagiarism of each of her works to pen a dark, pathological version as a novella calling it Breakfast at Tiffany’s, and screenwriter George Axelrod with Audrey Hepburn bringing the cultural spotlight to this and opening back up the spirit and propitiousness of Willa’s writing. This epiphany of Willa Cather’s writing began with my own writing to John Mayer and his artist friends, a trip to see him in concert in NYC in 2010, a screenplay that I had written called Dinner at Tiffany’s, and Taylor Swift’s invasive raiding of others’ lives and works, the plagiarism, and likewise graft and deceit just as Truman Capote...

It's the caper of the millennium and it's ON.