Ballet Girl Quotes

When other little girls wanted to be ballet dancers, I kind of wanted to be a vampire.

And in a small house five miles away was a man who held my mud-encrusted charm bracelet out to his wife. Look what I found at the old industrial park," he said. "A construction guy said they were bulldozing the whole lot. They're afraid of sink holes like that one that swallowed the cars." His wife poured him some water from the sink as he fingered the tiny bike and the ballet shoe, the flower basket and the thimble. He held out the muddy bracelet as she set down his glass. This little girl's grown up by now," she said. Almost. Not quite. I wish you all a long and happy life.

I can write, because writing—unlike choreography, architecture, or conquering kingdoms—is a thing you can do when you’re lonely and poor, and have no infrastructure, i.e., a ballet troupe or some cannons.

I saw a spider-I didn't scream 'cause I can belch the alphabet-Just double dog dare me! And I chose guitar over ballet and I take these suckers down 'cause they just get in my way. Then you look at me kinda like a little sister-You high five your goodbyes and it leaves me nothing but blisters- I don't want to be one of the boys, one of your guys-Just give me a chance to prove to you tonight that I just wanna be one of the girls, pretty in pearls and not one of the boys...

The paintings that laughed at him merrily from the walls were like nothing he had ever seen or dreamed of. Gone were the flat, thin surfaces. Gone was the sentimental sobriety. Gone was the brown gravy in which Europe had been bathing its pictures for centuries. Here were pictures riotously mad with the sun. With light and air and throbbing vivacity. Paintings of ballet girls backstage, done in primitive reds, greens, and blues thrown next to each other irreverantly. He looked at the signature. Degas.

nothing's news. it's the same old thing in disguise. only one thing comes without a disguise and you only see it once, or maybe never. like getting hit by a freight train. makes us realize that all our moaning about long lost girls in gingham dresses is not so important after all.

When did you first feel like a grown woman and not a girl?” We wrote down our answers and shared them, first in pairs, then in larger groups. The group of women was racially and economically diverse, but the answers had a very similar theme. Almost everyone first realized they were becoming a grown woman when some dude did something nasty to them. “I was walking home from ballet and a guy in a car yelled, ‘Lick me!’” “I was babysitting my younger cousins when a guy drove by and yelled, ‘Nice ass.’” There were pretty much zero examples like “I first knew I was a woman when my mother and father took me out to dinner to celebrate my success on the debate team.” It was mostly men yelling shit from cars. Are they a patrol sent out to let girls know they’ve crossed into puberty? If so, it’s working.

He was a boy, she was a girl, can I make it any more obvious. He was a punk, she did ballet, what more can I say. He wanted her, she wouldn't tell, but secretly she wanted him as well

He was a boy, she was a girl Can I make it any more obvious, He was a punk, she did ballet, What more can I say, He wanted her, she wouldn't tell, but secretly she wanted him as well, All of her friends stuck up their nose, They had a problem with his baggy clothes He was a sk8er boi, she said "see you later boy" he wasn't good enough for her, he was a sk8er boi, she said "see you later boy", he wasn't good enough for her. Five years from now, she sits at home, feeding the baby, she's all alone, she turns on TV, guess who she sees, sk8er boi rockin' on MTV, she calls up her friends, they already know, and they got tickets to see his show

the only plan I’ve come up with is writing. I can write, because writing—unlike choreography, architecture, or conquering kingdoms—is a thing you can do when you’re lonely and poor, and have no infrastructure, i.e., a ballet troupe or some cannons. Poor people can write. It’s one of the few things poverty, and lack of connections, cannot stop you doing.

He was a boy, she was a girl Can I make it any more obvious He was a punk, and she did ballet, What more can I say He wanted her, she wouldn't tell, but secretly she wanted him as well, All of her friends stuck up their nose, They didn't like his baggy clothes He was a sk8er boi, she said see you later boy, he wasn't good enough for her

I wanted this girl, entitled asshole that I was, but I didn’t deserve her.

if there’s one thing I learned this year, it’s that you rise up to the circumstances when they are presented to you. We are so much stronger than we think we are. But sometimes, we go through decades without having a reason to be tested. The thing about life is, it always hits us. No one leads a charmed life. Even the blond, gorgeous, picture-perfect, popular rich girl harbors secrets. Even the football captain. Even the rich mother of two who married her hot millionaire ex-student. The ballet prodigy. Everyone’s got a story, and we all have chapters we’d rather not read aloud.

Yet for a moment it seemed to him that the men who had dragged marble from Italy and porphyry from Portugal, who had ransacked the jungle for its rarest woods and paid their millions to build this opulent and fantastical theatre, had done so in order that a young girl with loose brown hair should move across its stage, drawing her future from its empty air.

we were never meant to be what we are or where we are, we are looking for an escape, some music from the sun, the girl we never found. we are betting on the miracle again there before the purple mountains as the horses parade past so much more beautiful than our lives.

So far, the only plan I’ve come up with is writing. I can write, because writing—unlike choreography, architecture, or conquering kingdoms—is a thing you can do when you’re lonely and poor, and have no infrastructure, i.e., a ballet troupe or some cannons. Poor people can write. It’s one of the few things poverty, and lack of connections, cannot stop you doing.

At that time there weren’t a lot of little boys taking ballet, so some of the girls had been cast as Party Boys. They were often the ones crying. It seemed that nobody wanted to be a Party Boy.

When the School of Resentment becomes as dominant among art historians and critics as it is among literary academics, will Matisse go unattended while we all flock to view the daubings of the Guerrilla Girls? The lunacy of these questions is plain enough when it comes to the eminence of Matisse, while Stravinsky is clearly in no danger of being replaced by politically correct music for the ballet companies of the world. Why then is literature so vulnerable to the onrush of our contemporary social idealists?

She’d inherited Eli’s old phone and often got texts meant for him. One night, that senior girl who always talked about ballet and wore leotards and jeans to school texted twenty-four times. One of the texts had said—Deenie never forgot it—MY PUSSY ACHES FOR U. It had to have been the worst thing she’d ever read. She’d read it over and over before deleting it.

She doesn't care what it means to be a dancer. What sacrifices it takes. And she knows that Mr. K will easily let me go. That I'm nothing. I can be replaced. Girls are a dime a dozen in ballet-not like the boys who are treated like princes. Another girl will be plucked from some audition somewhere.

There was a time when all I wanted in the world was Bank Street. I didn’t call it that, I called it wanting to be a ballet dancer. I failed at both. But I’m not that girl anymore, and her dreams are no longer my dreams. Why should I feel like I failed her? I’m not that girl anymore. Oh, she’s still there.

Here, we're just girls playing dress up- the best part of ballet.

Alex was right in front of the mantel now, bent forward, his nose mere inches from a picture of me. "Oh,God. Don't look at that!" It was from the year-end recital of my one and only year of ballet class. I was six: twig legs, a huge gap where my two front teeth had recently been, and a bumblebee costume. Nonna had done her best, but there was only so much she could do with yellow and black spandex and a bee butt. Dad had found one of those headbands with springy antennai attached. I'd loved the antennae. The more enthusiastic my jetes, the more they bounced. Of course, I'd also jeted my flat-chested little self out of the top of my costume so many times that, during the actual recital itself,I'd barely moved at all, victim to the overwhelming modesty of the six-year-old. Now, looking at the little girl I'd been, I wished someone had told her not to worry so much, that within a year, that smooth, skinny, little bare shoulder would have turned into the bane of her existence. That she was absolutely perfect. "Nice stripes," Alex said casually, straightening up. That stung. It should't have-it was just a photo-but it did. I don't know what I'd expected him to say about the picture. It wasn't that. But then, I didn't expect the wide grin that spread across his face when he got a good look at mine, either. "Those," he announced, pointing to a photo of my mulleted dad leaning against the painted hood of his Mustang "are nice stripes. That-" he pointed to the me-bee- "Is seriously cute." "You're insane," I muttered, insanely pleased. "Yeah,well, tell me something I don't know." He took the bottle and plate from me. "I like knowing you have a little vanity in there somewhere." He stood, hands full, looking expectant and completely beautiful. The reality of the situation hadn't really been all that real before. Now, as I started up the stairs to my bedroom, Alex Bainbridge in tow, it hit me. I was leading a boy, this boy, into my very personal space. Then he started singing. "You're so vain, I bet you think this song is about you. You're sooo vain....!" He had a pretty good voice. It was a truly excellent AM radio song. And just like that, I was officially In Deep

That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.

The wolves seemed far more interested in watching Marrok tear him apart. For a heartbeat of time, everyone jsut stared at the graceful ballet of death. 'Do those two have a history I don't know about?' Dow asked conversationally. Richardson nodded. 'Tober punched Marrok's woman.' 'Ooohhhh, that explains it.' Dower snorted. 'Jesus, what kind of wolf hits a girl?

Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after “dancing” Polyeucte. They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror. Sorelli, who wished to be alone for a moment to “run through” the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. It was little Jammes—the girl with the tip-tilted nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck and shoulders—who gave the explanation in a trembling voice: “It’s the ghost!” And she locked the door. - Chapter 1: Is it the Ghost?

example of one of the big differences between Kristy and me. I was wearing a very short pink cotton dress, white tights, and black ballet slippers. I had swept all of my hair way over to one side, where it was held in place with a piece of pink cloth that matched the dress. Only one ear showed, and in it I had put my big palm tree earring. (Kristy was not wearing any jewelry.)

As for me, I’m not duped by his misfortunes; he doesn’t look like a man who fails to get the best of things! Somebody finds him a good place, and there he is, leading the life of a Sardanapalus with a ballet-girl, and guzzling the funds of his journal; that costs the mother another twelve thousand francs! I don’t care two straws for myself, but Philippe will bring that poor woman to beggary.

I can’t bear to wear flats, and it’s not a height thing. The rounded toe of the ballet slipper-style shoes do not appeal to me. Let’s face it, none of us over thirty, forty, fifty and on, are ballerinas. No, girls, Pilates is not ballet. I’ve been told I am built like a ballerina, but I’ve also been told I dance like a stripper. Did you ever ask someone how they thought you dance? You may be in shock, or maybe they will be.

Up rose the scent of green-apple shampoo. Of river stones once the flood has gone. The taste of winter sky laced with sulfur fumes. A kiss beneath a white-hearted tree. A hot still day holding its breath. We removed the contents one by one. There were two blue plastic hair combs. A tough girl's black rubber-band bracelet. A newspaper advertisement for a secretarial school folded in half. A blond braid wrapped in gladwrap. A silver necklace with a half-a-broken-heart pendant. An address, written in a leftward-slanting hand, on a scrap of paper. Ballet shoes wrapped in laces. From the box came the sound of bicycle tires humming on hot pavement. Of bare feet running through crackling grass. Of frantic fingers unstitching an embroidered flower. Of paper wings rising on a sudden wind. Of the lake breathing against the shore. I didn't say anything. I kept very still.

I was thinking about Leon and our affinity for busyness, when I happened upon a book called In Praise of Slowness, written by Carl Honoré. In that book he describes a New Yorker cartoon that illustrates our dilemma. Two little girls are standing at a school-bus stop, each clutching a personal planner. One says to the other, “Okay, I’ll move ballet back an hour, reschedule gymnastics, and cancel piano. You shift your violin lessons to Thursday and skip soccer practice. That gives us from 3:15 to 3:45 on Wednesday the sixteenth to play.” This, I suppose, is how the madness starts. Pay close attention to the words Honoré uses to describe this fast-life/slow-life dichotomy. “Fast is busy, controlling, aggressive, hurried, analytical, stressed, superficial, impatient, active, quantity-over-quality. Slow is the opposite: calm, careful, receptive, intuitive, unhurried, patient, reflective, quality-over-quantity…. It is seeking to live at what musicians call the tempo giusto—the right speed.”* Which of those lifestyles would you prefer?

It was a book that started all the trouble. “Read, read, read! That’s all grown-ups ever say to me,” said Bean, “but when I finally do read, I get in trouble.” She slumped in her chair. “And then the grown-ups take the book away.” Ivy nodded. “It’s totally not fair,” she agreed. “And they shouldn’t blame us anyway. It’s all Grandma’s fault.” Ivy’s grandma had sent her the book. It was called The Royal Book of the Ballet. Each chapter told the story of a different ballet, with pictures of fancy girls in feathery tutus and satin toe shoes. Bean was at Ivy’s house on the day it arrived. They were supposed to be subtracting, but

Motor-scooter riders with big beards and girl friends who bounce on the back of the scooters and wear their hair long in front of their faces as well as behind, drunks who follow the advice of the Hat Council and are always turned out in hats, but not hats the Council would approve. Mr. Lacey, the locksmith,, shups up his shop for a while and goes to exchange time of day with Mr. Slube at the cigar store. Mr. Koochagian, the tailor, waters luxuriant jungle of plants in his window, gives them a critical look from the outside, accepts compliments on them from two passers-by, fingers the leaves on the plane tree in front of our house with a thoughtful gardener's appraisal, and crosses the street for a bite at the Ideal where he can keep an eye on customers and wigwag across the message that he is coming. The baby carriages come out, and clusters of everyone from toddlers with dolls to teenagers with homework gather at the stoops. When I get home from work, the ballet is reaching its cresendo. This is the time roller skates and stilts and tricycles and games in the lee of the stoop with bottletops and plastic cowboys, this is the time of bundles and packages, zigzagging from the drug store to the fruit stand and back over to the butcher's; this is the time when teenagers, all dressed up, are pausing to ask if their slips shows or their collars look right; this is the time when beautiful girls get out of MG's; this is the time when the fire engines go through; this is the time when anybody you know on Hudson street will go by. As the darkness thickens and Mr. Halpert moors the laundry cart to the cellar door again, the ballet goes under lights, eddying back nad forth but intensifying at the bright spotlight pools of Joe's sidewalk pizza, the bars, the delicatessen, the restaurant and the drug store. The night workers stop now at the delicatessen, to pick up salami and a container of milk. Things have settled down for the evening but the street and its ballet have not come to a stop. I know the deep night ballet and its seasons best from waking long after midnight to tend a baby and, sitting in the dark, seeing the shadows and hearing sounds of the sidewalk. Mostly it is a sound like infinitely patterning snatches of party conversation, and, about three in the morning, singing, very good singing. Sometimes their is a sharpness and anger or sad, sad weeping, or a flurry of search for a string of beads broken. One night a young man came roaring along, bellowing terrible language at two girls whom he had apparently picked up and who were disappointing him. Doors opened, a wary semicircle formed around him, not too close, until police came. Out came the heads, too, along the Hudsons street, offering opinion, "Drunk...Crazy...A wild kid from the suburbs" Deep in the night, I am almost unaware of how many people are on the street unless someone calls the together. Like the bagpipe. Who the piper is and why he favored our street I have no idea.

they were tired of that so they ripped open the package and sat down side by side on Ivy’s couch to look at The Royal Book of the Ballet. “I heard that sometimes their toes bleed when they’re dancing,” said Bean. “The blood leaks right through the satin part.” “That’s gross,” said Ivy, turning the pages. Suddenly she stopped. “Whoa, Nellie,” murmured Bean, staring. “Is she kicking his head off?” asked Ivy in a whisper. “That’s what it looks like,” said Bean. “What’s this one called, anyway?” Ivy flipped back a few pages. “Giselle,” she said, reading quickly. “It’s about a girl named Giselle who, um, dances with this duke guy, but he’s going to marry a princess, not Giselle, so she takes his sword and stabs herself.” Ivy and Bean found the picture of that.

What’s the most frightening thing to a child? The pain of being the outsider, of looking ridiculous to others, of being teased or picked on in school. Every child burns with fear at the prospect. It’s a primal instinct: to belong. McDonald’s has surely figured this out—along with what specific colors appeal to small children, what textures, and what movies or TV shows are likely to attract them to the gray disks of meat. They feel no compunction harnessing the fears and unarticulated yearnings of small children, and nor shall I. “Ronald has cooties,” I say—every time he shows up on television or out the window of the car. “And you know,” I add, lowering my voice, “he smells bad, too. Kind of like … poo!” (I am, I should say, careful to use the word “alleged” each and every time I make such an assertion, mindful that my urgent whisperings to a two-year-old might be wrongfully construed as libelous.) “If you hug Ronald … can you get cooties?” asks my girl, a look of wide-eyed horror on her face. “Some say … yes,” I reply—not wanting to lie—just in case she should encounter the man at a child’s birthday party someday. It’s a lawyerly answer—but effective. “Some people talk about the smell, too… I’m not saying it rubs off on you or anything—if you get too close to him—but…” I let that hang in the air for a while. “Ewwww!!!” says my daughter. We sit in silence as she considers this, then she asks, “Is it true that if you eat a hamburger at McDonald’s it can make you a ree-tard? I laugh wholeheartedly at this one and give her a hug. I kiss her on the forehead reassuringly. “Ha. Ha. Ha. I don’t know where you get these ideas!” I may or may not have planted that little nugget a few weeks ago, allowing her little friend Tiffany at ballet class to “overhear” it as I pretended to talk on my cell phone.

Blues Elizabeth Alexander, 1962 I am lazy, the laziest girl in the world. I sleep during the day when I want to, ‘til my face is creased and swollen, ‘til my lips are dry and hot. I eat as I please: cookies and milk after lunch, butter and sour cream on my baked potato, foods that slothful people eat, that turn yellow and opaque beneath the skin. Sometimes come dinnertime Sunday I am still in my nightgown, the one with the lace trim listing because I have not mended it. Many days I do not exercise, only consider it, then rub my curdy belly and lie down. Even my poems are lazy. I use syllabics instead of iambs, prefer slant to the gong of full rhyme, write briefly while others go for pages. And yesterday, for example, I did not work at all! I got in my car and I drove to factory outlet stores, purchased stockings and panties and socks with my father’s money. To think, in childhood I missed only one day of school per year. I went to ballet class four days a week at four-forty-five and on Saturdays, beginning always with plie, ending with curtsy. To think, I knew only industry, the industry of my race and of immigrants, the radio tuned always to the station that said, Line up your summer job months in advance. Work hard and do not shame your family, who worked hard to give you what you have. There is no sin but sloth. Burn to a wick and keep moving. I avoided sleep for years, up at night replaying evening news stories about nearby jailbreaks, fat people who ate fried chicken and woke up dead. In sleep I am looking for poems in the shape of open V’s of birds flying in formation, or open arms saying, I forgive you, all.

Men traveling alone develop a romantic vertigo. Bech had already fallen in love with a freckled embassy wife in Russia, a buck-toothed chanteuse in Rumania, a stolid Mongolian sculptress in Kazakhstan. In the Tretyakov Gallery he had fallen in love with a recumbent statue, and at the Moscow Ballet School with an entire roomful of girls. Entering the room, he had been struck by the aroma, tenderly acrid, of young female sweat. Sixteen and seventeen, wearing patchy practice suits, the girls were twirling so strenuously their slippers were unraveling. Demure student faces crowned the unconscious insolence of their bodies. The room was doubled in depth by a floor-to-ceiling mirror. Bech was seated on a bench at its base. Staring above his head, each girl watched herself with frowning eyes frozen, for an instant in the turn, by the imperious delay and snap of her head. Bech tried to remember the lines of Rilke that expressed it, this snap and delay: did not the drawing remain/that the dark stroke of your eyebrow/swiftly wrote on the wall of its own turning? At one point the teacher, a shapeless old Ukrainian lady with gold canines, a prima of the thirties, had arisen and cried something translated to Bech as, “No, no, the arms free, free!” And in demonstration she had executed a rapid series of pirouettes with such proud effortlessness that all the girls, standing this way and that like deer along the wall, had applauded. Bech had loved them for that. In all his loves, there was an urge to rescue—to rescue the girls from the slavery of their exertions, the statue from the cold grip of its own marble, the embassy wife from her boring and unctuous husband, the chanteuse from her nightly humiliation (she could not sing), the Mongolian from her stolid race. But the Bulgarian poetess presented herself to him as needing nothing, as being complete, poised, satisfied, achieved. He was aroused and curious and, the next day, inquired about her of the man with the vaguely contemptuous mouth of a hare—a novelist turned playwright and scenarist, who accompanied him to the Rila Monastery. “She lives to write,” the playwright said. “I do not think it is healthy.

the psychologist turned to Gillian’s mother and said, “You know, Mrs. Lynne, Gillian isn’t sick. She’s a dancer. Take her to a dance school.” I asked Gillian what happened then. She said her mother did exactly what the psychologist suggested. “I can’t tell you how wonderful it was,” she told me. “I walked into this room, and it was full of people like me. People who couldn’t sit still. People who had to move to think.” She started going to the dance school every week, and she practiced at home every day. Eventually, she auditioned for the Royal Ballet School in London, and they accepted her. She went on to join the Royal Ballet Company itself, becoming a soloist and performing all over the world. When that part of her career ended, she formed her own musical theater company and produced a series of highly successful shows in London and New York. Eventually, she met Andrew Lloyd Webber and created with him some of the most successful musical theater productions in history, including Cats and The Phantom of the Opera. Little Gillian, the girl with the high-risk future, became known to the world as Gillian Lynne, one of the most accomplished choreographers of our time, someone who has brought pleasure to millions and earned millions of dollars. This happened because someone looked deep into her eyes—someone who had seen children like her before and knew how to read the signs. Someone else might have put her on medication and told her to calm down. But Gillian wasn’t a problem child. She didn’t need to go away to a special school. She just needed to be who she really was.

As if on cue, Roo strolled out of the bakery, carrying a huge cinnamon roll in one hand and a giant cappuccino in the other. She wore a black taffeta miniskirt, black tights, black ballet slippers, and a black tank top over a purple T-shirt. Watching her a moment, Parker turned to the others and sighed. “Look at her. Fashion Goddess of the Dark Realm.” “She’s creative,” Ashley emphasized. “And her realm isn’t always a bad place to be.” “Neither is hell. If you’re the Antichrist.” This earned Parker a slug on the arm. Grinning, he pulled Ashley close and kissed her. “Don’t even ask,” Roo announced as she joined them. “These are mine, and I’m not sharing.” Gage promptly tore off a fourth of the cinnamon roll and popped it in his mouth. Etienne took a third of what was left. Roo stood there looking down at her practically empty napkin. “You didn’t need that, anyway,” Ashley insisted. “All those calories.” Parker gave Roo a serious once-over. “Since when has Roo cared about calories? No, wait. Since when has Roo cared about clothes? No, wait. Since when has Roo cared about how she looks?” He stared at Gage. Gage stared at Etienne. Etienne stared at Parker. “Since when has Roo cared about anything?” they all asked in unison. Feeling a little envious, Miranda observed the good-natured teasing. The kids back home hadn’t shared this kind of camaraderie. Not that they hadn’t been close--their own special group of girls and guys--but what Miranda saw here was different. Stronger, somehow. Like a real family. Miranda refocused on the three boys. Roo didn’t seem the least bit bothered by their comments. As Gage reached for the last bite of cinnamon roll, Roo stuffed it quickly into her mouth. Etienne just as quickly snatched the cappuccino from her other hand.

In our family, we live by the Hard Thing Rule. It has three parts. The first is that everyone—including Mom and Dad—has to do a hard thing. A hard thing is something that requires daily deliberate practice. I’ve told my kids that psychological research is my hard thing, but I also practice yoga. Dad tries to get better and better at being a real estate developer; he does the same with running. My oldest daughter, Amanda, has chosen playing the piano as her hard thing. She did ballet for years, but later quit. So did Lucy. This brings me to the second part of the Hard Thing Rule: You can quit. But you can’t quit until the season is over, the tuition payment is up, or some other “natural” stopping point has arrived. You must, at least for the interval to which you’ve committed yourself, finish whatever you begin. In other words, you can’t quit on a day when your teacher yells at you, or you lose a race, or you have to miss a sleepover because of a recital the next morning. You can’t quit on a bad day. And, finally, the Hard Thing Rule states that you get to pick your hard thing. Nobody picks it for you because, after all, it would make no sense to do a hard thing you’re not even vaguely interested in. Even the decision to try ballet came after a discussion of various other classes my daughters could have chosen instead. Lucy, in fact, cycled through a half-dozen hard things. She started each with enthusiasm but eventually discovered that she didn’t want to keep going with ballet, gymnastics, track, handicrafts, or piano. In the end, she landed on viola. She’s been at it for three years, during which time her interest has waxed rather than waned. Last year, she joined the school and all-city orchestras, and when I asked her recently if she wanted to switch her hard thing to something else, she looked at me like I was crazy. Next year, Amanda will be in high school. Her sister will follow the year after. At that point, the Hard Thing Rule will change. A fourth requirement will be added: each girl must commit to at least one activity, either something new or the piano and viola they’ve already started, for at least two years. Tyrannical? I don’t believe it is. And if Lucy’s and Amanda’s recent comments on the topic aren’t disguised apple-polishing, neither do my daughters. They’d like to grow grittier as they get older, and, like any skill, they know grit takes practice. They know they’re fortunate to have the opportunity to do so. For parents who would like to encourage grit without obliterating their children’s capacity to choose their own path, I recommend the Hard Thing Rule.

I'd learned many years earlier to hold my true friends close. I was still deeply connected to the group of women who had started gathering for Saturday playdates years earlier, back in our diaper-bag days in Chicago, when our children blithely pitched food from their high chairs and all of us were so tired we wanted to weep. These were the friends who'd held me together, dropping off groceries when I was too busy to shop, picking up the girls for ballet when I was behind on work or just needing a break. A number of them had hopped planes to join me for unglamourous stops on the campaign trail, giving me emotional ballast when I needed it most. Friendships between women, as any woman will tell you, are built of a thousand small kindnesses like these, swapped back and forth and over again.

The music came back up and the next group of little girls, slightly older, came out. And there was a lot of that in the next hour and change. Older girls, sometimes the same girls, because we got to see them do ballet, jazz, and modern, even a couple of tap dances. I liked dance, and it was no reflection on the kids, but my will to live began to seep away by about the fifth group of sequined children. I

Younger girls stand with their moms alongside countless girls our age in matching outfits—blazers and horseshoe necklaces and ballet flats.

An hour later we were pulling into the hospital parking lot. Sparkly and shiny from my hair and makeup job, I had to stop and bend over six times between the car and the front door of the hospital. I literally couldn’t take a step until each contraction ended. Within an hour after checking in, I was writhing on a hospital bed in all-encompassing pain and wishing once again that I’d gone ahead and moved to Chicago. It had become my default response when things got rough in my life: morning sickness? I should have moved to Chicago. Cow manure in my yard? Chicago would have been a better choice. Contractions less than a minute apart? Windy City, come and get me. Finally, I reached my breaking point. It’s an indescribable feeling, the throes of hard labor--that mind-numbing total body cramp whose origin you can’t even begin to wrap your head around. After trying to be strong and tough in front of Marlboro Man, I finally gave up and gripped the bedsheet and clenched my teeth. I groaned and moaned and pushed the nurse button and whimpered to Marlboro Man, “I can’t do this anymore.” When the nurse came into the room moments later, I begged her to put me out of my misery. My salvation arrived five minutes later in the form of an eight-inch needle, and when the medicine hit I nearly began to cry. The relief was indescribably sweet. I was so blissfully pain-free, I fell asleep. And when I woke up confused and disoriented an hour later, a nurse named Heidi was telling me it was time to push. Almost immediately, Dr. Oliver entered the room, fully scrubbed and wearing a mask. “Are you ready, Mama?” Marlboro Man asked, standing near my shoulders as the nurse draped my legs and adjusted the fetal monitor, which was strapped around my middle. I felt like I’d woken up in the middle of a party. But the weirdest party ever--one where the hostess was putting my feet in stirrups. I ordered Marlboro Man to remain north of my belly button as nurses scurried into place. I’d made it clear beforehand: I didn’t want him down there. I wanted him to continue to get to know me the old-fashioned way--and besides, that’s what we were paying the doctor for. “Go ahead and push once for me,” Dr. Oliver said. I did, but only hard enough to ensure that nothing accidental or embarrassing would slip out. I could think of no greater humiliation. “Okay, that’s not going to work at all,” Dr. Oliver scolded. I pushed again. “Ree,” Dr. Oliver said, looking up at me through the space between my legs. “You can do way better than that.” He’d watched me grow up in the ballet company in our town. He’d watched me contort and leap and spin in everything from The Nutcracker to Swan Lake to A Midsummer Night’s Dream. He knew I had the fortitude to will a baby from my loins. That’s when Marlboro Man grabbed my hand, as if to impart to me, his sweaty and slightly weary wife, a measure of his strength and endurance. “Come on, honey,” he said. “You can do it.” A few tense moments later, our baby was born. Except it wasn’t a baby boy. It was a seven-pound, twenty-one-inch baby girl. It was the most important moment of my life. And more ways than one, it was a pivotal moment for Marlboro Man.

she jerked the Prophet out from under Harry’s hand and unfolded it to look at the front page — “you should go and find Slughorn and start appealing to his better nature.” “Anyone we know — ?” asked Ron, as Hermione scanned the headlines. “Yes!” said Hermione, causing both Harry and Ron to gag on their breakfast. “But it’s all right, he’s not dead — it’s Mundungus, he’s been arrested and sent to Azkaban! Something to do with impersonating an Inferius during an attempted burglary . . . and someone called Octavius Pepper has vanished. . . . Oh, and how horrible, a nine-year-old boy has been arrested for trying to kill his grandparents, they think he was under the Imperius Curse. . . .” They finished their breakfast in silence. Hermione set off immediately for Ancient Runes; Ron for the common room, where he still had to finish his conclusion on Snape’s dementor essay; and Harry for the corridor on the seventh floor and the stretch of wall opposite the tapestry of Barnabas the Barmy teaching trolls to do ballet. Harry slipped on his Invisibility Cloak once he had found an empty passage, but he need not have bothered. When he reached his destination he found it deserted. Harry was not sure whether his chances of getting inside the room were better with Malfoy inside it or out, but at least his first attempt was not going to be complicated by the presence of Crabbe or Goyle pretending to be an eleven-year-old girl.

In Singin’ in the Rain, Lina Lamont provides both an effective “beard” for Don and Cosmo and a foil, representing both the reason for Don’s “unattached” state and the basis for their mutual contempt for women. Yet the signs are all there to be read for those interested in reading them: Cosmo and Don performing as a burlesque team, in which they sit on each other’s laps and play each other’s violins; Cosmo’s comment to Lina after the premiere of The Royal Rascal, “Yeah, Lina, you looked pretty good for a girl”;30 and their bullying, in “Moses Supposes,” of the fogyish diction coach, figuratively drawn out of his closet only to be ridiculed as an asexual “pansy” who can’t sing and dance (thus both confirming and denying homosexuality at the same time).31 On a broader scale, Kelly’s career as a dancer, offering a more masculinized style of athletic dance (in opposition especially to the stylized grace of Fred Astaire), represented a similar balancing act between, in this case, the feminized occupation of balletic dance and a strong claim of heterosexual masculinity. Significantly, the process of exclusion they use with the diction coach is precisely what Cosmo proposes they apply to Lina in converting The Dueling Cavalier into a musical: “It’s easy to work the numbers. All you have to do is dance around Lina and teach her how to take a bow.” But they also apply the strategy to Kathy, who is only just learning to “dance” in this sense (conveniently so, since Debbie Reynolds had had but little dance training, as noted).32 Early on, we see her dance competently in “All I Do Is Dream of You,” but she then seems extremely tentative in “You Were Meant for Me,” immobile for much of the number, not joining in the singing, and dancing only as Don draws her in (which is, of course, consistent with her character’s development at this point). With “Good Mornin’,” though, she seems to “arrive” as part of the Don-Cosmo team, even though for part of the number she serves as a kind of mannequin—much like the voice teacher in “Moses Supposes,” except that she sings the song proper while Don and Cosmo “improvise” tongue-twisting elaborations between the lines. As the number evolves, their emerging positions within the group become clear. Thus, during their solo clownish dance bits, using their raincoats as props, Kathy and Don present themselves as fetishized love objects, Kathy as an “Island girl” and Don as a matador, while Cosmo dances with a “dummy,” recalling his earlier solo turn in “Make ’em Laugh.

Donovan looked her up and down. “What's that you wearin'?” “It's my costume!” she answered, frustration in her voice, but Justin noticed she pulled the edge of her leotard farther down over her butt cheeks. “You shouldn't be backstage, Donny. You'll get me in trouble.” “I don't like it,” he snarled. “All I can see is your boobs and your butt.” “I'm a dancer,” she replied angrily. “It's what we wear. Now go sit down in the audience!” “That's my beef,” he continued, still in her space. “You show too much. And you look to me like you're gaining weight!” Layla paused. “I do?” She looked down at her thighs. “Who you showin' off for?” Donny hissed. “Please,” she said, lowering her voice. “Let's talk about this after the performance.” “Change your clothes!” he demanded. “You're crazy! I'm up next.” She reached out to him, pleading. He grabbed both her wrists, hard. “No girl of mine is gonna dance like a stripper!” In tears now, Layla pushed him away. “It's ballet!

No one leads a charmed life. Even the blond, gorgeous, picture-perfect, popular rich girl harbors secrets. Even the football captain. Even the rich mother of two who married her hot millionaire ex-student. The ballet prodigy. Everyone’s got a story, and we all have chapters we’d rather not read aloud.

She is a girl in pink tights and ballet slippers, a girl with a heart beating. Her body will move; it will take care of itself.

Dean, Maya’s just a little girl. She has a lot of energy and needs,” his mother went on. “We just can’t give that to her. You’re young and Silver Bell Falls is a wonderful place for her to grow up.

I think my mother secretly hoped that I’d turn into one of those girlie girls. It wasn’t her fault that I firmly resisted any attempts to mould me into an ideal daughter. You can take a girl to ballet lessons as much as you like, but you can’t necessarily make her into a ballerina.

A lonely photo sits on the middle shelf, about eye-level with him if he were to gaze over his shoulder. A girl. Young. Long hair tied back in a tight bun on the top of her head. Petite and fit. She wears a skin-tight, pink leotard and ballet shoes with one pointed foot raised high against a beam. Graceful, elegant. Familiar.

At the same time High Society was still buzzing about her impromptu performance on the stage of the Royal Opera House, Covent Garden with the ballet star Wayne Sleep. They had secretly choreographed a routine to Billy Joel’s song “Uptown Girl” using her drawing-room at Kensington Palace as their rehearsal studio. Prince Charles watched the Gala performance from the royal box oblivious to his wife’s plan. Two numbers before the end she left his side and changed into a silver silk dress before Wayne beckoned her on stage. The audience let out a collective gasp of astonishment as they went through their routine. They took eight curtain calls, Diana even dropping a curtsey to the royal box.

didn’t know about the wizard power, but she was right about being cute. I was sort of cute in a girl-next-door kind of way that didn’t seem to encourage dates. Glo was cute in a quirky, fun way that was obviously more approachable. Truth is, I wish I was more like Glo, but I’d feel like an idiot if I tried to wear a pink ballet tutu with green-and-black striped tights and motorcycle boots.

Dancing en pointe, or up on the toes, was not originally part of ballet. It came about in the early 1800s as a way of making the dancers appear lighter and more graceful. The

A flock of birds flew in unison like a team of ballet dancers, taking turns in suicide dives—their gray-and-white feathered bodies tightening into the shape of arrows as they disappeared headfirst into the ocean, surfacing a moment later with fish filling their orange bills.

Lenora was a Fosse girl. She had learned from the mater, the actual master himself. Fosse was a galvanizing choreographer, who fascinated and spoke directly to me for a range of reasons. The first was the fact that the most iconic aspects of his work were inspired by his imperfections. Because he was losing his hair, hats became an integral part of his pageantry. His shoulders were rounded, giving rise to his signature slouch. He didn't like his hands, so gloves made their way into his numbers. He was pigeon-toed and couldn't achieve the kind of turnout expected in ballet, so he developed a style in which the legs are turned in and the feet point at each other. I was intoxicated by the way he had spun his ‘flaws’ into stylistic gold. It felt like a message for me that my own ‘flaws’ and vulnerabilities might actually be arrows pointing straight to the heart of my power as a performer, and – dare I say – my artistry.

Lenora was a Fosse girl. She had learned from the master, the actual master himself. Fosse was a galvanizing choreographer, who fascinated and spoke directly to me for a range of reasons. The first was the fact that the most iconic aspects of his work were inspired by his imperfections. Because he was losing his hair, hats became an integral part of his pageantry. His shoulders were rounded, giving rise to his signature slouch. He didn't like his hands, so gloves made their way into his numbers. He was pigeon-toed and couldn't achieve the kind of turnout expected in ballet, so he developed a style in which the legs are turned in and the feet point at each other. I was intoxicated by the way he had spun his ‘flaws’ into stylistic gold. It felt like a message for me that my own ‘flaws’ and vulnerabilities might actually be arrows pointing straight to the heart of my power as a performer, and – dare I say – my artistry.

Mrs Massoud was always crying – for her son who had been taken by government troops in Damascus, and for her daughter, who had been killed by the bombs shortly after. She told Aya that a mother’s fountain of tears flows forever. But tonight there was also music coming from somewhere down the hall – a man’s voice singing a song in a language that Aya didn’t understand. It made her think of the girls in the dance class. The girl called Dotty who had grinned at her like she was just a normal kid. And Ciara, with the blonde hair and the haughty expression, and the mousey-haired girl – Lilli-Ella – who stuck her tongue out when she was concentrating. Aya’s limbs itched as she remembered. Just thinking about it made her want to dance. “Not really enough room for that kind of thing in here, eh, Moos!

once confided to him late at night after a game of billiards and rather a lot of excellent port that his wife hated it so much that she’d only let him do it when she wanted a baby. She was a damned attractive woman, too, and a wonderful wife, as Martyn had said. In other ways. They had five children, and Martyn didn’t think she was going to wear a sixth. Rotten for him. When Edward had suggested that he find consolation elsewhere, Martyn had simply gazed at him with mournful brown eyes and said, ‘But I’m in love with her, old boy, always have been. Never looked at anyone else. You know how it is.’ And Edward, who didn’t, said of course he did. That conversation had warned him off Marcia Slocombe-Jones anyhow. It didn’t matter, because although he could have gone for her there were so many other girls to go for. How lucky he was! To have come back from France not only alive, but relatively unscathed! In winter, his chest played him up a bit due to living in trenches where the gas had hung about for weeks, but otherwise . . . Since then he’d come back, gone straight into the family firm, met Villy at a party, married her as soon as her contract with the ballet company she was with expired and as soon as she’d agreed to the Old Man’s dictate that her career should stop from then on. ‘Can’t marry a gal whose head’s full of something else. If marriage isn’t the woman’s career, it won’t be a good marriage.’ His attitude was thoroughly Victorian, of course, but all the same, there was quite a lot to be said for it. Whenever Edward looked at his own mother, which he did infrequently but with great affection, he saw her as the perfect reflection of his father’s attitude: a woman who had serenely fulfilled all her family responsibilities and at the same time retained her youthful enthusiasms – for her garden that she adored and for music. At over seventy, she was quite capable of playing double concertos with professionals. Unable to discriminate between the darker, more intricate veins of temperament that distinguish one person from another, he could not really see why Villy should not be as happy and fulfilled as the Duchy. (His mother’s Victorian reputation for plain living – nothing rich in food and no frills or pretensions about her own appearance or her household’s had long ago earned her the nickname of Duchess – shortened by her own children to

My body is all that exists. It is the only thing I can depend on. Music or no music, there is a rhythm that cancels out all the other noise, all the nonsense that keeps screaming for attention, all the pain of the world outside. I point and leap and spin, and sweat whips off me, showering the duct-taped boards under my bare, calloused feet. I see myself in the fractured shards of mirror I glue-gunned to the wall. This is how I know myself--in this tattered leotard; in these ripped tights; in this broken, salvaged room. This is the only place I’m real. This is the place I come when I need to remember who I am. This is where I come when I need to forget everything else.

I’m sorry, I didn’t realize they made shoes for emo ballerinas!

Dancing is a relief, but it can’t be everything. I am starting to realize this. I can close my eyes and will myself to stop thinking for three, maybe five minutes at a time. I can dance my way out of my head and into my body, where things briefly make sense, but which I always have to leave eventually. Relief never lasts forever. The world is always there, waiting for me with its relentless weirdness. I must always eventually come back. I must stand still. And it is in that stillness that the other parts of me return, the parts of me that intersect with and bump against the rest of the world. The parts that remember and feel.

So striking, everyone would say. E-theeeer-real, some would even venture. The littlest girls, padding in in their ballet pinks, would stare up at the photo mounted in the lobby, fingers in their mouths. Like fairy princesses.

There are girls who do not like real life. When they hear the harsh belches of its engines approaching along the straight road that leads from childhood, through adolescence to adultery, they dart into a side turning. When they take their hands away from their eyes, they find themselves in the gallery of the ballet. There they sit for many years feeding their imaginations on those fitful glimpses of a dancer's hand or foot which seats in the upper parts of theatres afford. When I was young I too 'adored' the ballet. For me its charm was that one of the dancers might break his neck, but what appeals to these girls is the moonlit atmosphere of love and death which the withering hand of truth can never compromise. During the intervals they hold hands, numbed by excessive applause, with the homosexual young man who is bound to be sitting on their right or left. Even the boys, who have no positive intention of deceiving them, are drawn into a relationship damaging to the girls. After a lot of squeaking at the bus stop when the ballet is over, the young men pursue on the way home other interests, which at least yield a morsel of satisfaction. The girls can do nothing but return to their joss-stick-perfumed nunneries. From this position there is no way back. They can only stay where they are until, in middle age, they awaken to the realization that they don't know a single person who isn't queer. Then they move on to the uncharted quicksands of nudism, Yoga, vegetarianism and other diseases of the soul too terrible to name.

People say ballet theaters are haunted by the dancers who died tragically young, but that’s not true. Theaters are haunted by bored ghost girls. They’ve spooked everyone worth spooking. Wandered Paris, Rome, Tokyo. Lasted lifetimes in ineffectual transparent bodies. Now they strive for perfection, unity, grace. All the things they didn’t have time to achieve when alive.

These were the friends who’d held me together, dropping off groceries when I was too busy to shop, picking up the girls for ballet when I was behind on work or just needing a break. A number of them had hopped planes to join me for unglamorous stops on the campaign trail, giving me emotional ballast when I needed it most. Friendships between women, as any woman will tell you, are built of a thousand small kindnesses like these, swapped back and forth and over again.

Modern ballet costumes are very delicate, and some cannot even be washed at all. These costumes are hung up to air out and sprayed with freshener.

There was virtually nothing from some shows in which Fosse developed his history—the erotic Dream Ballet from New Girl in Town (1957), for whose integrity he had to fight the entire production team; the “Uncle Sam Rag” from Redhead (1959), in which Fosse embodied the music’s counterpoint in groupings of “counterpointed” dancers; “Coffee Break” or “A Secretary Is Not a Toy” from How To Succeed in Business Without Really Trying (1961);2 “Rich Kids’ Rag” from Little Me (1962).

It starts before you can remember: you learn, as surely as you learn to walk and talk, the rules for being a girl. You are Princess. You are Daddy’s Little Girl. Are you ticklish? Give him a hug. You’re sweet, aren’t you? You’re a good little girl. You don’t remember those early days, but here’s what you do remember: You remember ballet class, the way your tummy stretched your pink leotard and your parents fretted over some future eating disorder, and then you were trying tap, or soccer, or what about a musical instrument? You remember “We just want you to be happy!” and you remember you said you were happy because you knew that’s what they wanted to hear. How long have you been saying what everyone else wants to hear? Time went on, and GIRLS CAN DO ANYTHING! So speak up, I can’t hear you! But also: Manners, young lady. A boy is bothering you at school? Stand up for yourself! A boy is bothering you at school? He’s just trying to get your attention. Do you like sparkles and unicorns and everything pink? Oh, that’s stupid now. Can you play in this game? Sorry, no girls allowed. Put a little color on your face. Shave your legs. Don’t wear too much makeup. Don’t wear short skirts. Don’t distract the boys by wearing bodysuits or spaghetti straps or kneesocks. Don’t distract the boys by having a body. Don’t distract the boys. Don’t be one of those girls who can’t eat pizza. You’re getting the milkshake too? Whoa. Have you gained weight? Don’t get so skinny your curves disappear. Don’t get so curvy you aren’t skinny. Don’t take up too much space. It’s just about your health. Be funny, but don’t hog the spotlight. Be smart, but you have a lot to learn. Don’t be a doormat, but God, don’t be bossy. Be chill. Be easygoing. Act like one of the guys. Don’t actually act like one of the guys. Be a feminist. Support the sisterhood. Wait, are you, like, gay? Maybe kiss a girl if he’s watching though—that’s hot. Put on a show. Don’t even think about putting on a show, that’s nasty. Don’t be easy. Don’t give it up. Don’t be a prude. Don’t be cold. Don’t put him in the friend zone. Don’t act desperate. Don’t let things go too far. Don’t give him the wrong idea. Don’t blame him for trying. Don’t walk alone at night. But calm down! Don’t worry so much. Smile! Remember, girl: It’s the best time in the history of the world to be you. You can do anything! You can do everything! You can be whatever you want to be! Just as long as you follow the rules. - Rules for Being a Girl

DIDN’T COME GET me until two in the morning, and she was still singing—in French.” Lydia yawned hugely, then sang, “Ne me quitte pas, blah-blah-blah-blah-blah. What am I going to do? Ben won’t let me into his room every night, no matter what Jeffrey says.” “Sleep in my room from now on,” said Alice. “You can have either the top or bottom bunk.” “Really?” What a relief to never again sleep in the mansion. “Actually, I do prefer the top bunk, so if you wouldn’t mind the bottom—” “No, I mean, do you really think I can stay with you? Wouldn’t your parents mind?” “They’ll like it. They’ve decided you’re a good influence on me.” Lydia thought that being a good influence made her sound as boring as being a person who liked everyone (except she didn’t). But if that was what she had to suffer to get out of the mansion, she’d accept it. Both girls were in their new ballet skirts, swishing along on their way to see Blossom. Alice was carrying the oats in a bag—the skirts were without pockets—and Lydia was carrying Natalie’s phone, plus two books, in another bag. Alice knew about only one of the books, Practical Magic, written by an Alice for grown-ups. The other, sneaked in by Lydia, was a copy of Alice’s Adventures in Wonderland and Through the Looking-Glass. She was hoping to convince both Alice and Blossom to love it. Unless—she stopped walking—that could be considered being a good influence. No, she decided, and started walking again, quickly, to catch up with Alice as she entered the field. They’d decided to begin the visit with a dance, the best way to show Blossom their new skirts. This was the first time the two of them had danced together seriously, and anyone other than sheep would have appreciated the vision—the beautiful skirts, the fusion of ballet and tae kwon do, the paean to freedom and friendship. But to Blossom, the oat carriers seemed to have gone crazy, spinning around like bugs trying to escape a water trough. She stopped halfway across the field, apparently planning to chomp on grass until they became less buglike. The dancing a failure, the girls moved on to the second part of the entertainment. Alice took out oats, Lydia took out Practical Magic, and Blossom came the rest of the way over, accepting the oats and ignoring the book.

De momento, el único plan que tengo es escribir. Sé escribir, porque escribir (a diferencia de la coreografía, la arquitectura o conquistar reinos) es algo que puedes hacer aunque seas pobre y estés solo y no tengas infraestructura (una compañía de ballet o unos cañones, por ejemplo). Los pobres pueden escribir. Es de las pocas cosas que la pobreza, y la falta de contactos, no puede impedirte hacer.cai

the desire to make something is a gift from God. The freedom to carve out the time and have a safe place to create that art is a blessing of the highest level in a world where so many people are unable to have either. Every time I indulge in the art of creation without worrying about what the public will think of it is craft in its purest form—and craft can be any old thing at all. For me it’s writing. For you it might be painting, making quilts, or taking a Thursday-night ballet class. Whether or not something is good or worthy is up for interpretation, and if you’re unconcerned about other people’s interpretations, then everything you make is fantastic.