Villa Coco
Villa Coco
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Content Warning: This section of the guide includes discussion of animal death and death.
The Caprice (Baronessa’s Boat)
The Caprice is a symbol of the Baronessa’s desire for a life of freedom, adventure, and self-determination. The boat first appears in the novel as a prized bronze sculpture in the entrance hall, an object whose prominence signals its personal importance. The Baronessa explicitly identifies the boat as the “love of her life” (135), elevating it above any human romance and establishing it as the ultimate treasure in a house full of objects. Its value to her is emotional, representing a past life of liberty she yearns to reclaim, a connection that exemplifies The Subjective Value of Objects. This choice to prioritize a vessel of escape over her land-bound estate solidifies the philosophy of the Baronessa and Villa Coco, where worth is measured by personal meaning, not provenance or price. The boat’s name, Caprice, literally means a sudden, whimsical change of mind, perfectly encapsulating the philosophy that governs the Baronessa’s final act.
The decision to sell Villa Coco and all its (forged) contents to buy back the Caprice is the narrative’s final expression of Embracing Whimsy Over Order. Rather than assuming the, to her, static dignity of old age, the Baronessa liquidates her past for a future of motion and uncertainty. The boat represents her final, grand caper: an escape from the expectations of her age, from mourning, and from a settled existence. It embodies the novel’s core argument, which Princess Pippa articulates when defending the Baronessa’s seemingly irrational choice: “[T]he trick to life,” she says, “is knowing what you want” (254). For the Baronessa, what she wants is a horizon. The Caprice is therefore not just a boat; it is the physical manifestation of a life philosophy dedicated to freedom and the pursuit of one’s truest desires.
The Forged Paintings
The forged paintings are a symbol that connects to the novel’s examination of the deceptive nature of “authenticity” and emphasizes The Subjective Value of Objects. Geoffrey, an archivist trained to document provenance and establish objective worth, is hired for the specific task of creating a catalog for the sale of the villa. His entire professional purpose is predicated on the idea that the objects have an inherent, verifiable value. The revelation that he has been meticulously cataloging forgeries subverts his mission completely, transforming his professional ledger into an instrument of deception. This twist reveals that the artifacts’ real value for the Baronessa lies not in the grand caper she and Oscar have devised. The performance of the sale and the thrill of outsmarting their old rival, Furman Childress, are prioritized over the monetary worth of the original pieces.
This elaborate scheme, born from a desire for one last adventure, is rooted in a philosophy that celebrates personal narrative over material truth. Princess Pippa inspires the plot by recounting how she once commissioned a copy of her sofa for the queen to keep the original for herself. She advises the Baronessa to do the same for Furman: “Remember … the Queen! […] Give him … copies!” (252). This act demonstrates a belief that an object’s value is tied to personal attachment and the story it carries, not its authenticity. The forgeries prove that in the world of Villa Coco, a good story is the most valuable treasure of all, and an official-looking list, compiled by an “expert American archivist” (253), is merely a prop in a much more important and entertaining performance.
The Marten (Faina)
The marten, or faina, is a recurring motif representing the untamable, chaotic forces that constantly disrupt the order Geoffrey seeks to impose on Villa Coco. The narrator’s very job description includes “hunting martens,” establishing the creature from the outset as representing the wildness that must be managed. However, every attempt to control the marten ends in farcical failure, reinforcing the Baronessa’s philosophy of Embracing Whimsy Over Order and extending it throughout the villa’s property and inhabitants. The proposed solutions escalate in absurdity, from patching fences to Ghazel’s incomprehensible plans for a “wall of dogs,” and later, a poisoned chicken (44). These schemes highlight the futility of applying rational solutions to the inherently irrational and chaotic world of Villa Coco. The marten consistently outwits its human adversaries, appearing at Geoffrey’s window on his first night and stealing chickens at will, acting as a constant, mischievous reminder that life cannot be fully cataloged or contained.
Ultimately, the marten is defeated by its own gluttony, dying of an “overdose” of fish oil while curled up on Geoffrey’s mattress. This absurd end contributes to the novel’s whimsical tone; the agent of chaos is undone by its own chaotic nature. The Baronessa’s initial frustration with the creature eventually gives way to a kind of grudging respect, culminating in her wry admission, “Let us be honest. This faina will outlive us all” (228). This statement, made shortly before the creature’s demise, reflects her understanding that wildness is a fundamental and lasting part of life, a force to be lived with rather than conquered.
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