Dancer

'Remarkable ... nimble, lyrical and wispy' Sunday Times 'An utterly riveting, frequently moving, and staggeringly well-written book' Daily Mail 'Breathtaking' Guardian ________________________ This novel opens on a battlefield: trudging back from the front through a ravaged and icy wasteland, their horses dying around them, their own hunger rendering them almost savage, the Russian soldiers are exhausted as they reach the city of Ufa, desperate for food and shelter. They find both, and then music and dance. And there, spinning unafraid among them, dancing for the soldiers and anyone else who'll watch him, is one small pale boy, Rudolf. This is Colum McCann's dancer: Rudolf, a prodigy at six years old, who became the greatest dancer of the century, who redefined dance, rewrote his own life, and died of AIDS before anyone knew he had it. This is an extraordinary life transformed into extraordinary fiction by one of the most acclaimed writers of his generation. One kind of masculine grace is perfectly matched to another in Colum McCann's beautiful and daring new novel.

‘My favourite novel and one I wish I’d written.’ ALAN BENNETT Winner of the McKitterick Prize for best first novel by an author aged over 40, and the Hawthornden Prize for imaginative literature.

The new book by prize-winning biographer Evelyn Juers, author of The House of Exile and The Recluse, portrays the life and background of a pioneering Australian dancer who died at the age of twenty-five in a remote town in India. A uniquely talented dancer and choreographer, Philippa Cullen grew up in Australia in the 1950s and 60s. In the 1970s, driven by the idea of dancing her own music, she was at the forefront of the new electronic music movement, working internationally with performers, avant-garde composers, engineers and mathematicians to build and experiment with theremins and movement-sensitive floors, which she called body-instruments. She had a unique sense of purpose, read widely, travelled the world, and danced at opera houses, art galleries and festivals, on streets and bridges, trains, clifftops, rooftops. She wrote, I would define dance as an outer manifestation of inner energy in an articulation more lucid than language. An embodiment of the artistic aspirations of her age, she died alone in a remote hill town in southern India in 1975. With detailed reference to Cullen’s personal papers and the recollections of those who knew her, and with her characteristic flair for drawing connections to bring in larger perspectives, Evelyn Juers’ The Dancer is at once an intimate and wide-ranging biography, a portrait of the artist as a young woman.

Hilary James (`Mousie') is sixteen when she wins The Fuller Trophy jumping with her horse Dancer at the Royal Winter Fair. Her triumph is rewarded with an invitation to perform in England for Queen Elizabeth, but she has also attracted the unwanted attention of the evil Samuel Owens who plots to acquire Dancer for his niece, Sara. Thwarted in his initial attempt to purchase the horse, Owens has his hired man, Chad Smith, try to steal it. Mousie has a dream in which a beautiful blond horsewoman warns her of impending danger. She wakes to discover Chad Smith, syringe in hand, in Dancer's stall. Chad Smith is killed in the ensuing scuffle and his employer comes under suspicion. Dancer is flown to Highgrove, the country home of Prince Charles, and Mousie arrives with her mother Christine at `Clusters' -- an English manor, once the home of Arabella, the second wife of the Duke of Dewbury, now both long dead. Mousie finds an antique lady's hunting whip which she feels certain must have belonged to Arabella, and later discovers a portrait of her riding side-saddle. It is the same woman who appeared in Mousie's dreams.

“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

#1 NEW YORK TIMES BESTSELLER • OPRAH’S BOOK CLUB PICK • From the National Book Award–winning author of Between the World and Me, a boldly conjured debut novel about a magical gift, a devastating loss, and an underground war for freedom. “This potent book about America’s most disgraceful sin establishes [Ta-Nehisi Coates] as a first-rate novelist.”—San Francisco Chronicle IN DEVELOPMENT AS A MAJOR MOTION PICTURE • Adapted by Ta-Nehisi Coates and Kamilah Forbes, directed by Nia DaCosta, and produced by MGM, Plan B, and Oprah Winfrey’s Harpo Films NOMINATED FOR THE NAACP IMAGE AWARD • NAMED ONE OF PASTE’S BEST NOVELS OF THE DECADE • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Time • NPR • The Washington Post • Chicago Tribune • Vanity Fair • Esquire • Good Housekeeping • Paste • Town & Country • The New York Public Library • Kirkus Reviews • Library Journal Young Hiram Walker was born into bondage. When his mother was sold away, Hiram was robbed of all memory of her—but was gifted with a mysterious power. Years later, when Hiram almost drowns in a river, that same power saves his life. This brush with death births an urgency in Hiram and a daring scheme: to escape from the only home he’s ever known. So begins an unexpected journey that takes Hiram from the corrupt grandeur of Virginia’s proud plantations to desperate guerrilla cells in the wilderness, from the coffin of the Deep South to dangerously idealistic movements in the North. Even as he’s enlisted in the underground war between slavers and the enslaved, Hiram’s resolve to rescue the family he left behind endures. This is the dramatic story of an atrocity inflicted on generations of women, men, and children—the violent and capricious separation of families—and the war they waged to simply make lives with the people they loved. Written by one of today’s most exciting thinkers and writers, The Water Dancer is a propulsive, transcendent work that restores the humanity of those from whom everything was stolen. Praise for The Water Dancer “Ta-Nehisi Coates is the most important essayist in a generation and a writer who changed the national political conversation about race with his 2015 memoir, Between the World and Me. So naturally his debut novel comes with slightly unrealistic expectations—and then proceeds to exceed them. The Water Dancer . . . is a work of both staggering imagination and rich historical significance. . . . What’s most powerful is the way Coates enlists his notions of the fantastic, as well as his fluid prose, to probe a wound that never seems to heal. . . . Timeless and instantly canon-worthy.”—Rolling Stone

Dancer Wellness, created by the International Association for Dance Medicine & Science, offers guidance on the foundations, mental components, and physical aspects of dancer wellness. Readers will learn concepts and strategies to develop as dancers and to create their own dancer wellness plan.

Pete wanders into a Bangkok go-go bar and meets the love of his life. Joy is young, stunning, and a pole dancer. In a roller-coaster ride of sex, drugs, and deception, Pete discovers that his own very private dancer is not all she claims to be. Far from being the love of his life, Joy is his own personal nightmare!