A scandalously talented stage performer, a practiced seductress of both men and women, and the flamboyant author of some of the greatest works of twentieth-century literature, Colette was our first true superstar. Now, in Judith Thurman's Secrets of the Flesh, Colette at last has a biography worthy of her dazzling reputation.
Having spent her childhood in the shadow of an overpowering mother, Colette escaped at age twenty into a turbulent marriage with the sexy, unscrupulous Willy--a literary charlatan who took credit for her bestselling Claudine novels. Weary of Willy's sexual domination, Colette pursued an extremely public lesbian love affair with a niece of Napoleon's. At forty, she gave birth to a daughter who bored her, at forty-seven she seduced her teenage stepson, and in her seventies she flirted with the Nazi occupiers of Paris, even though her beloved third husband, a Jew, had been arrested by the Gestapo. And all the while, this incomparable woman poured forth a torrent of masterpieces, including Gigi, Sido, Cheri, and Break of Day.
Judith Thurman, author of the National Book Award-winning biography of Isak Dinesen, portrays Colette as a thoroughly modern woman: frank in her desires, fierce in her passions, forever reinventing herself. Rich with delicious gossip and intimate revelations, shimmering with grace and intelligence, Secrets of the Flesh is one of the great biographies of our time.
NOTE: This edition does not include a photo insert.
In May 1945, the elderly Sidonie-Gabrielle Colette, long known by her surname, became only the second woman to be inducted into France's staid but extremely prestigious Acad mie Goncourt. At 72, she had become but a shadow of the androgynous sexpot novelist who had flouted convention in the early years of the century (even to the point of taking, when nearly 50, her teenage stepson as a lover). She had become respectable, the acclaimed author of the Claudine novels, The Last of Ch ri and Gigi. Thurman's biography comes on the heels of the final installment of Francis and Gontier's multivolume life, and it triumphantly withstands the comparison. Elegantly written and handily appearing in one substantial volume, Thurman's book has fewer personal details than the French duo's, but it is more effective at setting the morally subversive Colette in the social milieu of early-20th-century Paris. Despite much legwork on her own, Thurman does lean upon Colette's many recent French biographers. And her account of the Nazi occupation of France is sometimes hard to follow. But the book is impressive. Thurman (whose Isak Dinesen: The Life of a Storyteller, won the National Book Award in 1982) does not hesitate to expose the dishonest, selfish, exploitive facets of the feminist icon who wrote articles for Occupation newspapers and sometimes behaved heartlessly toward lovers. Nevertheless, her Colette comes off as an appealing, even heroic, figure, quoted memorably as saying, "What more can one be sure of than that which one holds in one's arms, at the moment one holds it in one's arms." 24 pages of provocative photographs.