James Patterson is acclaimed for his thrillers, detective
series and countless #1 bestsellers, including the
Women’s Murder Club novels (which were adapted into
a television series that aired on ABC) and SUZANNE’S DIARY
FOR NICHOLAS, a memorable love story. SUNDAYS AT TIFFANY’S,
co-authored with children’s book writer Gabrielle Charbonnet,
is the latest Patterson effort to have its audience buzzing. While
reading, I theorized about which chapters were penned by which
writer, or co-written and edited by both. The secret remains just
that.

The gift of love is the basis upon which SUNDAYS AT TIFFANY’S
develops a tender yet magical story. For anyone who has not
experienced the wonder of an imaginary friend, the authors fill the
pages with this real possibility. Imaginary friends appear and
disappear, filling the needs of children who lack comfort and
playful companionship. Jane Margaux, a lonely little eight-year-old
girl, spends Sundays with her mother, Vivienne, window shopping at
Tiffany’s jewelry store. But Vivienne, a successful Broadway
theater producer, fills her time with production and boyfriends
rather than Jane’s daily upbringing.

Michael --- who is in his 30s, witty, funny and handsome --- is
Jane’s diligent imaginary companion. He is steady, and a rock
for her insecurities. Their favorite treat together is a
scrumptious double-scooped coffee ice cream sundae, heaped with
drizzles of hot fudge sauce. Michael’s most painful day
occurs when he has to bid the now-nine-year-old farewell and move
forward to befriend another child.

According to the authors, children mature and forget about their
past securities. Like the worn-out blanket dragged behind in
“Peanuts” stories, the make-believe companion becomes a
discarded memory. However, Jane carries Michael into her future
when, at 31, she immortalizes his memory in her theatrical
production Thank Heaven. The play is a smash hit and will
be brought to the silver screen.

Hugh McGrath is a deliciously handsome actor with ambition to play
Michael in the movie. He has wooed Jane and become her lover.
Vivienne supports his landing the role, but Jane feels that she is
being used by both her mother and Hugh. Her choice to deny Hugh the
role destroys their future together, and this distraught young
woman revisits the source of her childhood pleasure. Re-enter
Michael. >From this point forward, the reader questions the
hypothesis asked of him. Is Michael real, or merely a figment of
Jane’s imagination?

Collaboration in writing is a recent trend more commonplace than in
years past. Alternating styles carry the tale forward in SUNDAYS AT
TIFFANY’S. Michael is written in third person, while Jane is
portrayed in the first. The action tracks Michael’s journey
from Jane’s playful childhood companionship to a grown-up
role in her adult life. Her struggle with self-discovery into
maturity is well-written from her viewpoint. At crisis points in
the book, the reader might find denial. By its conclusion, the
combined writing styles produce satisfaction. Charbonnet’s
fantasy and Patterson’s mystery prowess unite for an
entertaining story.

Michael’s diligence to Jane’s protection is an
obsession that transforms his character from pure fantasy to
near-reality. Jane’s unwillingness to forget Michael’s
place in her youth affects her realities as an adult. If he leaves
her for a second time, will she have the strength to overcome her
insecurities? SUNDAYS AT TIFFANY’S is unforgettable because
Patterson’s twist is “teddy bear” comfort at the
conclusion.