Colette (1873-1954) was a French writer belonging to Modernism and one of the most sexual liberal writers of the early 20th C. Her life and her work show her bisexuality, promiscuity and all kind of sexual experiences. Her collection of books known as Claudine – Claudine à l’école, Claudine à Paris, Claudine en ménage, Claudine s’en va – explain the life of Claudine since her adolescence until her divorce. The first of the books takes place in a boarding school where Claudine’s tendency to homosexuality is suggested through her friendship with Luce and where she observes the homoerotic relationship between two teachers of the school. The second book takes place in Paris and describes her new home and the arousing her own erotic consciousness: her body is described in detail with a strong repetitive presence of the mirror, and her room and sense of intimate space appear simultaneously being as well highly described. Claudine’s room is important because is the place where she dreams and where she describes and touches her body; living in a bourgeois house, her room has place for a bath, so all the toilet is done there conforming a very private and personal area. In Paris Claudine falls in love with her uncle, twenty years older than her whom she marries to at the end of the novel. This second book shows a certain degree of plenitude, Claudine does not feel herself alienated with her domestic space neither with her body. She experiences her desires at the same time that a sense of belonging accommodates her in her bedroom.
One of the characteristics attributed to Colette is her willingness to write about the female body and desire as she did. The description of sexual acts from the female point of view was terribly innovative in the 1900, as well homoerotic desire among women. Considering the Victorian context, Colette dared to express through some of her heroines the distasteful sensations of being with lovers or husbands showing female dissatisfaction with her intimate relationships with men and satisfaction being with women suggesting a different sexuality and different requirements among sexes: “Il m’y serre, si tendu que j’entends trembler ses muscles. Tout vetu il m’y embrace, m’y maintient – mon Dieu, qu’attend-il donc pour se déshabiller, lui aussi? – et sa bouche et ses mains m’y retiennent, sans que son corps me touche, depuis ma révolte tresaillante jusqu’à mon contentment affolé, jusqu’àu honteux gémissement de volupté que j’aurais voulu retenir par orgueil. Après, seulement auprès, il jette ses habits comme j’ai feat des miens, et il rit, impitoyable, pour vexer Claudine stupéfaite et humiliée”.
Once married, Claudine starts feeling alienated in her husband’s house: “Pour rentrer! Je n’ai donc pas de demeure? Non! J’habite ici chez un monsieur, un monsieur que j’aime, soit, mais j’habite chez un monsieur! Hélas! Claudine, plante arrachée de sa terre […] Où rentrer? En moi”. The loss of her own room contributes to her feeling of no-belonging, and her husband’s possession of her body probably contributes to this strangeness. Thus Claudine’s remembrances about her friendship with Luce reappear now longing for physical and emotional fulfillment with her regretting her previous despise. It may appear clear that if Claudine does not feel her intimacy in her marital room is due to her impossibility to communicate with her husband, therefore she feels urge to seek outside.