This book is the one that I picked up in Marquette, at
Snowbound books (which I mentioned in my post about Marquette here). I
wasn’t sure about this book, I mean it’s about ballet so I’m going to at least
give it a glance. But a lot of ballet books that deal with “female violence”
like the back of the book use ambition as the driving force and get more caught
up in the aesthetic of ballet rather than what ballet is actually like (I never
watched it but I think there was a season of like “Pretty Little Liars” or
something that centered around a murder at a ballet school, that sort of
thing). And since I actually am a dancer, I really just want something that
resonates with my experiences. So I was hesitant about this book, until I
picked it up, flipped through it, and saw the epigraph from “Rosencrantz and
Guildenstern Are Dead.” Then I knew this was a book I had to read.
The plot follows Delphine, a dancer at the Paris Opera
Ballet from her adolescent years into adulthood. The way the chapters are
structured, we get a snippet of Delphine as a teenager, and a portion of her
life as an adult, having just returned to Paris. Delphine as a teenager is at
ballet school with her best friend Margeaux, they then meet Lindsay who joins
the program late and rounds out their trio. As an adult, Delphine is trying to
get her new ballet off the ground as a budding choreographer, while reconnecting
with her friends and her surrogate mother Stella. Delphine quickly realizes how
much things have changed, Margeaux now no longer wants to be a dancer forever.
Lindsay still does but after an accident years ago has a hard time partnering
with anyone. Both are married, Delphine missed both of their weddings. Stella
is about to have her hip replaced, but Delphine struggles to see Stella as a
person and not her mother or another caretaker. Eventually though, a few
secrets some to light. Delphine finds out that her crush from her teen years is
sleeping around the cast and filming it secretly. She leaks it to the press and
has to deal with the possibility of revenge porn. The accident that caused
Lindsay’s injury was Delphine and Margeaux tripping her into the street before
an audition since Lindsay wanted to sleep with one of the judges. And finally,
it gets revealed how Delphine decided to return to Paris after finding out that
her boyfriend, the one who encouraged her to choreograph, was a serial cheater
and preventing her career from getting started. This culminates in Lindsay’s
birthday where her husband is devastated that she had an abortion so that she
could continue dancing, and he accidentally drops a bust on her foot. Delphine
then gives him a shove, and sends him out of a window. She gets off with it
being to protect her friend, and continues to choreograph. Lindsay accepts that
she cannot dance anymore, and starts to teach English. And Margeaux also quits
to try and start a family of her own.
Apologies for the huge paragraph of a summary, but I really
didn’t know how to cut that in half or cut it down. There is so much going on
in this story, but lets start with the structure of the chapters. Having the
narrative partly be from their teen years and partly as adults is a really
interesting idea. Of course eventually the teen narrative catches up to where
the adult one began, completing the circle. It also reinforces this idea that
Delphine has that when she returns to Paris, everything will be exactly the
same as before. None of the in between things will have made a difference. And
here the reader is with a snapshot of what those before times really were like.
So much of the book is about stories. But in a surprisingly
subtle way. The most overt part of this has to do with Delphine as a
choreographer, using bodies and music to tell stories. She starts with telling
the story of the last Tsar of Russia, a story that she wants to be about how
you can get everything that you want, and all that can destroy you. It’s very
clearly about her experiences with this relationship that has just fallen apart
and how she feels it is tearing her apart as well. This gets scrapped though,
when the artistic director tells her to do some feminist-y piece. So instead of
that, Delphine creates a solo dance to Janis Joplin that is all about the cycle
of grief, particularly female grief. And she gets Lindsay to do it, she has the
life experience from constantly yearning to be a principal. This new piece is
much more intimate, and it has this cyclical nature to it. You will eventually
recover from grief, and experience it again.
There’s another layer to the commentary on stories though.
The entire time Delphine was away, she was telling herself stories about the
people that she left behind. And instead of keeping up with them and what they
were like, she trapped them into this story that she told herself. This almost
destroys multiple relationships that she has: Stella and Margeaux. Margeaux has
developed a drinking problem, she’s drunk all the time but Delphine doesn’t let
herself see it. Stella also is her own person and does not exist to help
Delphine, but Delphine needs that so badly that she keeps expecting so much
from her. In the end though, Delphine is able to talk to them about it,
apologize, and accept them for who they are and not who she wants them to be.
In contrast to this are all the male characters in the
story. Ballet is an interesting example of these gender dynamics as it is
mostly women, but almost all of the positions of responsibility are held by
men. Men set the standards for how the women need to look and the women bend
over backwards to meet that. One example of this is Delphine’s ex keeping her
career small. He wants someone to be his unpaid assistant, not to have a mind
of her own. Another is Delphine’s old crush who films himself having sex with
women in the company. He wants them to just be objects, submissive and always
willing. And finally there’s Lindsay’s husband. He refuses to believe that she
won’t want to have children and give in to his goals in life, as opposed to
letting her be in control of her life and her body. After Delphine pushes him
out a window, she describes it as his suicide in that he brought that on
himself by treating his wife like that, taking pleasure in her not achieving
her goals so that he could have his. All of the men want to keep the women
trapped into their ideas of how they should act instead of letting them be real
people.
Of course, the book also has a lot to say about the dance
world. Clearly the author was involved in ballet at some point, or I don’t
think she could write this. There are a lot of details about how ballet works,
when dancers go en pointe, how white-washed the ballet world is, things like
that which I don’t think outsiders typically know. Really my only nitpick is
that Delphine, Margeaux, and Lindsay all get into the company at the same time.
The odds of that are astronomically small, but it has to work that way for the
plot so whatever. But truly, so much of this resonated with my experiences.
Delphine talks about leaving dance for choreography, and it almost mirrors my
own. How I didn’t want to serve in someone else’s vision but instead create my
own. And how much I miss being a more serious dancer. She also doesn’t shy away
from the messy parts, how dancers are constantly dancing on injuries and
hurting themselves without allowing enough time to heal. But also how strong
and powerful they are. You can’t make it to a professional level any other way.
There’s one part that mentions how ballet typically has a pink colored screen
over it that softens all of the hard parts. This book doesn’t do it, it shows
ballerinas as powerful and underlines how strange it is that a symbol of
femininity is made up of underweight, overworked individuals.
The final theme I want to address is the theme of watching
within the story. It is present from that opening epigraph, the quote talking
about how learning that there is no God and no one is watching is the greatest
tragedy. Dance is all about feeling watched, that there could be audience and
cameras anywhere. That dancers need to be ready at any point to get a
correction from the teacher that is watching. And it runs all through this
book, both on stage and off. Women need to constantly act as though someone is
watching just in general as they apply makeup and other techniques to alter
their appearance. This is contrasted with seeing someone. Delphine finally
learns to see the people around her for who they are. When Lindsay’s husband is
killed she yells at him “you don’t see me!” It is watching as observation
versus seeing as understanding.
In case you can’t tell from the amount that I’ve written
about this, I adored this book and this story. It has been so long since I dove
into a story to this extent and found it so fruitful to think about. I’m so
glad that this exists, I feel like I’ve been searching my whole life for
relatable ballet content, and now I got two books in a single summer. (The
first was Don’t Think, Dear which I wrote about in this post and
goes really well as a companion to this book.) Here’s hoping that I’m able to
find some more, and that I get back into the studio to dance myself really
soon.