Space and Salvation in Colette's Chéri and La Fin de Chéri

Colette's critics often seem to dismiss all but her autobiographical creatures as whimsical and inarticulate. Her characters are frequently less eloquent than the spaces they create and inhabit; this observation offers an approach to Chéri and La Fin de Chéri that invites us to read them as...

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Bibliographic Details
Main Author: Ann Leone Philbrick
Format: Article
Language:English
Published: New Prairie Press 1984-01-01
Series:Studies in 20th & 21st Century Literature
Online Access:http://newprairiepress.org/sttcl/vol8/iss2/7
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author Ann Leone Philbrick
author_facet Ann Leone Philbrick
author_sort Ann Leone Philbrick
collection DOAJ
description Colette's critics often seem to dismiss all but her autobiographical creatures as whimsical and inarticulate. Her characters are frequently less eloquent than the spaces they create and inhabit; this observation offers an approach to Chéri and La Fin de Chéri that invites us to read them as two of Colette's most ambitious and authentic works. Here are stories of compromises with the containers of one's life and identity: streets, salons, boudoirs, and, ultimately, the body. Indeed, the self and its containers function symbiotically. Chéri makes no effort to direct this relationship, and kills himself when the world finally seems inscrutable and formless; his older mistress, Léa, responds joyfully—or with melancholic respect—to the surfaces and limits of her world. We are left with a harsher insight into Colette's vision than we are accustomed to. She suggests that survival lies not in the endless definition of one's place in the world, but in its recognition and a loving, even fearing, homage.
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spelling doaj.art-aae9f12186944f1ca67d1f0b7294eaf02022-12-22T00:52:59ZengNew Prairie PressStudies in 20th & 21st Century Literature2334-44151984-01-018210.4148/2334-4415.11435590024Space and Salvation in Colette's Chéri and La Fin de ChériAnn Leone PhilbrickColette's critics often seem to dismiss all but her autobiographical creatures as whimsical and inarticulate. Her characters are frequently less eloquent than the spaces they create and inhabit; this observation offers an approach to Chéri and La Fin de Chéri that invites us to read them as two of Colette's most ambitious and authentic works. Here are stories of compromises with the containers of one's life and identity: streets, salons, boudoirs, and, ultimately, the body. Indeed, the self and its containers function symbiotically. Chéri makes no effort to direct this relationship, and kills himself when the world finally seems inscrutable and formless; his older mistress, Léa, responds joyfully—or with melancholic respect—to the surfaces and limits of her world. We are left with a harsher insight into Colette's vision than we are accustomed to. She suggests that survival lies not in the endless definition of one's place in the world, but in its recognition and a loving, even fearing, homage.http://newprairiepress.org/sttcl/vol8/iss2/7
spellingShingle Ann Leone Philbrick
Space and Salvation in Colette's Chéri and La Fin de Chéri
Studies in 20th & 21st Century Literature
title Space and Salvation in Colette's Chéri and La Fin de Chéri
title_full Space and Salvation in Colette's Chéri and La Fin de Chéri
title_fullStr Space and Salvation in Colette's Chéri and La Fin de Chéri
title_full_unstemmed Space and Salvation in Colette's Chéri and La Fin de Chéri
title_short Space and Salvation in Colette's Chéri and La Fin de Chéri
title_sort space and salvation in colette s cheri and la fin de cheri
url http://newprairiepress.org/sttcl/vol8/iss2/7
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