Chéri and the End of Chéri

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Product Details

Price
$16.95  $15.76
Publisher
New York Review of Books
Publish Date
Pages
256
Dimensions
4.96 X 8.43 X 0.63 inches | 0.55 pounds
Language
English
Type
Paperback
EAN/UPC
9781681376707

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About the Author

Sidonie-Gabrielle Colette (1873-1954) was born in the village of Saint-Sauveur-en-Puisaye, where she led an idyllic childhood. At the age of twenty, she married Henri Gauthier-Villars, known as Willy, a Parisian man of letters under whose name she published the Claudine novels. Separated from Willy in 1905, Colette supported herself as an actress before establishing her own reputation as a writer. She was celebrated in later years as one of the great figures of twentieth-century French life and letters, and was the first woman to be accorded a state funeral by the French Republic. Her novel, The Pure and the Impure, is available as an NYRB Classic.

Paul Eprile is a publisher, poet, and translator. He has previously translated Jean Giono's Hill, The Open Road, and Melville, for which he was a co-winner of the 2018 Annual Translation Prize of the French-American Foundation (all available as NYRB Classics). He lives on the Niagara Escarpment in Ontario, Canada.

Judith Thurman is a biographer and critic. A staff writer at The New Yorker, she is also the author Isak Dinesen: The Life of a Storyteller, which won the 1983 National Book Award for nonfiction, and Secrets of the Flesh: A Life of Colette, the winner of the Los Angeles Times Book Award for Biography and the Salon Book Award for biography.

Reviews

"Colette writes like a fencer, in controlled, impressionistic sallies. . . .Eprile's exquisite translation catches the glint, now songlike and now savage, of Colette's sentences, her dialogues filed to a point." --Yasmine Seale, 4 Columns

"Steeped in the hedonism of the noble class, it embraces the splendor of beauty, the excitement of vulgarity, the exquisite brutality of unfettered emotions, parsing through the inner lives of the aging Léa and her lover Chéri with a naked prose not unlike the autofiction of the past years." --Beatrice Loayza, "Writers on their Favorite Books of 2022," Bookforum

"But Colette's most marvelous and mature reckonings with age and youth, the newly and gracefully translated Chéri (1920) and The End of Chéri (1926), demonstrate the derangement of infancy extended beyond its natural limits. A woman who refuses to submit to the standard set by the girl grows old with poise, while a perpetually puerile young man remains pitiful forever. Male or female, Colette concludes, an eternal child is doomed to grow grotesque." --Becca Rothfeld, Bookforum

"[Eprile's translation is] lean and lucid." --Michael LaPointe, The New Yorker

"These portraits of an aging grande horizontale and her beautiful toyboy are the most convincing arguments I know of against political correctness in fiction. Colette never wrote a bad sentence but countless good ones. Paul Eprile has miraculously recreated her in English for our times." --Edmund White

"Paul Eprile's vivid new translation of Chéri and The End of Chéri brings all the savage tenderness of Colette's two-part masterpiece to life. These great novels of the erosion time wreaks upon desire and the inevitably tragic fate of civilization's discontents beautifully reflect their moment--from the conclusion of the Belle Époque to the aftermath of the first World War. Yet English language readers today will recognize much of their own world, with its irrevocable chasm between past and present, in these subtle, crystalline, pages." --Susan Stewart

"The two Chéri novellas probably form Colette's masterpiece. . . They are her masterpieces because they transcend the notion of the battle between the sexes by concentrating on an exceptionally rigorous analysis of the rules of war. . . . The Chéri novels are about the power-politics of love, and Léa and Chéri could be almost any permutation of ages or of sexes. . . . They could both as well be men; or both women." --Angela Carter, The London Review of Books

"Colette was not false, not even when she lied. Once a lie was transformed into fiction it stood as a truth, and survived." --Mavis Gallant

"We call her great, for her gift to us is not limited to the art of writing: it is the gift of a culture." --Rosemary Tonks, The New York Review of Books