Cheri and The Last of Cheri (Paperback)
This novel is a pleasure to read, can be read on many levels, and will linger in your thoughts for a long time. Lea de Lonval is an older courtesan and Fred Peloux (Cheri) is her beautiful and haughty young lover. Their liason of six years ends as the scales begin to fall from Cheri's eyes. When they meet again in the second novel, the france of the first book has been radically changed by WWII and Lea and Cheri themselves have been altered by time. Maybe not the most consoling of novels, but a wonderful and satisfying one.— From Rebecca
Two volumes of Colette's most beloved works, with a new Introduction by Judith Thurman.
Chéri, together with The Last of Chéri, is a classic story of a love affair between a very young man and a charming older woman. The amour between Fred Peloux, the beautiful gigolo known as Chéri, and the courtesan Léa de Lonval tenderly depicts the devotion that stems from desire, and is an honest account of the most human preoccupations of youth and middle age. With compassionate insight Colette paints a full-length double portrait using an impressionistic style all her own.
About the Author
Born in 1873 in France, Colette was the author of many acclaimed novels noted for their intimate style. Colette titles from FSG include Gigi, Julie de Carneilhan, and Chance Acquaintances, The Complete Claudine, Chéri and The Last of Chéri, and The Complete Stories of Colette. She died in 1954.
Judith Thurman is the author of Isak Dinesen: The Life of a Storyteller and Secrets of the Flesh: A Life of Colette. A staff writer at The New Yorker, she lives in New York City.
“Everything that Colette touched became human . . . She was a complete sensualist; but she gave herself up to her senses with such delicacy of perception, with such exquisiteness of physical pain as well as physical ecstasy, that she ennobled sensualism to grandeur.” —The Times
“Chéri is her masterpiece.” —Michael Straight, The New Republic
“Dramatic and moving . . . [Chéri] endears itself to the reader partly because of its subject, but more because of the manner of its telling.” —The New York Times