Every summer I choose to read one chunkster, a big fat book, and this year knowing August would be the month that many others are reading books by women in translation, I decided to combine the two things and so chose to read a book translated from French to English, a classic, by the renowned author and personality Sidonie-Gabrielle Colette, referred to by her surname and pen name Colette.
The book I chose The Complete Claudine, is in fact four books combined in one volume, however I’ve written them up separately, including this first post, which is an introduction to the extraordinary personality behind the writer.
Introducing Colette
The book begins with an intriguing introduction by Judith Thurman, which I found helpful as I really knew little about Colette which she used as her writing pen-name.
Sidonie Gabrielle Colette by Leopold Reutlinger
She was a colourful, eccentric, driven character, a woman way ahead of her time, who wanted it all and seems to have pretty much lived her life, pursuing that goal, ignoring societal stereotypes and rejecting all labels about who, what and where a woman’s place should be, attracting as many admiring fans as scathing critics. She detested labels, and while her attitude may be thought of as feminist, she was far from abiding by political correctness or aligning herself with any kind of women’s group.
“Me, a feminist?” she scoffed in a 1910 interview. “I’ll tell you what the suffragettes deserve: the whip and the harem.” She saw no contradiction between supporting conservative positions and living her life as an “erotic militant” in revolt against them. Better worlds and just rewards were of no more consequence to her than the prospect of an afterlife. – Judith Thurman, Introduction
She was born in the Burgundy village of Saint-Saveur-en- Puisaye on January 28, 1873, a countryside upbringing that informs the autobiographical Claudine at School; the first volume in this book. Her own school years were likely more conservative that those expressed in her novel, which was influenced by her husband Willy, the pen name she would use when these books were first published, as it was he who introduced her to avant-garde intellectual and artistic circles while engaging in sexual affairs and encouraging her to do the same. It was he who suggested the idea of “the secondary myth of Sappho…the girls’ school or convent ruled by a seductive female teacher” (Ladimer, p. 53)
Her mother, “Mme Colette – the splendid earth mother known to Colette’s readers as Sido” came from a family of mixed African and Creole descent from the colonies (Martinique) and:
had boundless ambitions for her youngest daughter and “second self,” Gabrielle, and these never included domestic – or sentimental – drudgery. Sido called marriage, only half-ironically, a “heinous crime,” and would rejoice in Colette’s liaison from 1905 to 1911 with a cultivated and melancholy lesbian transvestite (transgender man), the Marquise de Morny, largely because “Missy’s” generosity and solicitude were so wholesome for Colette’s fiction. Nor was Sido’s “precious jewel,” childless until forty, ever encouraged by her mother to procreate.
She published nearly 80 volumes of fiction, memoir, drama, essays, criticism, and reportage, Gigi the best known to readers in the English language, though unfortunately so according to Judith Thurman as its promise of happiness so misrepresents Colette’s view of love.
The character Claudine was Colette’s invention of the century’s first teenage girl, one who was rebellious, secretive, erotically restless and disturbed, free-spirited and determined to carve her own path. Her rebellion was against convention not family, she had free rein at home, her single parent father poring over his slug manuscript left her to her own devices, though somewhat constrained by the maid who took care of her basic needs.
“It is not a bad thing that children
should occasionally, and politely,
put parents in their place.” Colette
Colette married at twenty(1893) and moved to Paris, separating from Willy in 1906 though with no access to royalties for her books as she had penned them in his name, leading her to a stage career in the music halls of Paris, her experience of that way of life informing her novel The Vagabond (1910).
“a novel that anticipates by ninety years, the contemporary fashion for wry, first-person narratives by single, thirty something career women. Its heroine examines her addictions to men with amused detachment, and flirts, alternately, with abstinence and temptation. Is there love without complete submission and loss of identity? Is freedom really worth the loneliness that pays for it? These are Colette’s abiding questions.”
Her move to Paris heralded the beginning of a public personality, as she would go on to become one of the most notorious and exuberant personalities of fin-de-siècle Paris. Her subsequent divorce and the years working on the stage exposed her to a poverty consciousness she’d not until then experienced and induced in her a steely determination to be independent and earn her own living at all times. After his death, she sued to have his name removed from her earlier books.
“The frugality of Virginia Woolf’s five hundred a year and a room of one’s own had as much allure for her as the ideals of Woolf’s feminism, which is to say, none at all. Colette’s models were never the gentlewomen of letters living on their allowances but the courtesans and artistes she had frequented in her youth, whose notion of a bottom line was fifty thousand a year and a villa of one’s own – with a big garden, a great chef, and a pretty boy.”
She would have a child (a daughter) at forty, though her maternal instinct never developed sufficiently for her to spend much time in the role of mother, allowing her to be raised by a nanny, though she marry the baby’s father Baron Henry de Jouvenel, an influential, flamboyant political journalist in Paris.
Below is a summary of Lessons We Can Learn From Colette, written by Holly Isard on the anniversary of her death, 3 August, do click on the link to read the lessons, they provide an interesting insight into the individualist character Colette was and lived according to. Each lesson has a wonderful anecdote connected to it.
Famous for her free spirit as much her style of writing, Colette was a chronicler of female existence, a precursory feminist who pushed against the bounds of sexuality for women in Paris. To the abhorrence of Parisian society, Colette experimented with androgyny on and off stage. She also frequented the spaces where marginal sexualities were beginning to find some visibility, in the cabarets and pantomimes. Even 142 years after her birth, Colette remains an icon and an indisputably formidable woman. Here, we consider five key lessons we can learn from the great lady herself.
1. Continue on in the face of controversy
2. Stick with your gut instinct
3. Don’t underestimate a woman’s influence
4. “Perfect companions never have fewer than four feet.”
Rachel Cooke in this Guardian article 
It should have been perfect, but things change when an old friend of her mother’s Anne arrives and she and her father announce their intention to marry. Although it is actually something Cecile feels is right for them and she adores Anne, part of her resents what signifies to her the end to the playful era she and her father have indulged, for Anne’s presence in their lives will certainly bring order and sensibility.
where he learns the words
Word by Word 