Once a Dancer Holding Onto the Air on My Grave
I've spent the past couple of weeks immersed in the autobiographies of famous ballerinas. I just finished Allegra Kent's Once A Dancer, and I re-read Gelsey Kirkland's yarn, Dancing on my Grave, and Suzanne Farrell's Holding On to the Air just arrived in the mail yesterday. There are several books about Margot Fonteyn available, but I refuse to read any just yet, because I'm afraid of being disappointed and prefer to keep her on a special pedestal separate from all others. The ballerinas I happen to be concentrating on investigating are the moody, self-absorbed and -aggrandizing ones that seemed to gravitate towards Balanchine.
I haven't read the Farrell book yet, but I have "Elusive Muse" on DVD, which was based on the book, so I figure I have the general gist. Grave I read a few years ago when my ballet teacher in North Miami Beach, Laura Rose May, lent it to me. The book horrified me -- it looks like some cheesy, pulp-fiction-Danielle-Steele-knockoff paperback you'd expect to see on some cheap shelf at Waldenbooks. But it's terribly entertaining. And one has to forgive Gelsey -- she published in the mid-80's, and didn't quite know what she was doing. Farrell and Kent published in the 90's, and their books' presentations are much more stylish. Ms. Kent had the advantage of having been married to a famous, talented photographer, so her cover photo is the best. It totally represents the exotic, elusive, creative image she cultivated.
Out of the three, the one I probably would like the least if I were to meet her in person, Ms. Kent, is the one whose musings I find to be the most fun to read, as long as you have a glass of wine in your hand and aren't pursuing any intellectual purpose in turning the pages. The reason Kent gets my vote as Best Ballerina Autobiog I've Read Thus Far is because she's playful and not afraid to show how flakey she is. While Gelsey raves on and on about how she would very carefully prepare a meal out of a sliver of apple and a teaspoon of cottage cheese, Allegra lets it all out, going so far as to quote the truly-silly personal ads she used to publish. While Suzanne ruminates endlessly and dramatically about how she thinks Balanchine felt about her (and, like, DOZENS of other ballerinas), Allegra jokes about how she managed to stay on the NY City Ballet payroll despite only performing like once a year.
So despite the fact that she seems the flakiest of them all, my hat's off to Allegra Kent for having the clearest perspective on what would be the most useful (both from a writer's and reader's perspective) content to put in an autobiography that is to be read by the kind of people that would invest the time in reading a ballerina's autobiography. Because, when you think about it, why would anyone read a ballerina's autobiography? Ballerinas are there to be observed on the stage. We're reading for fun. Allegra, true to her adopted name, is fun.
I haven't read the Farrell book yet, but I have "Elusive Muse" on DVD, which was based on the book, so I figure I have the general gist. Grave I read a few years ago when my ballet teacher in North Miami Beach, Laura Rose May, lent it to me. The book horrified me -- it looks like some cheesy, pulp-fiction-Danielle-Steele-knockoff paperback you'd expect to see on some cheap shelf at Waldenbooks. But it's terribly entertaining. And one has to forgive Gelsey -- she published in the mid-80's, and didn't quite know what she was doing. Farrell and Kent published in the 90's, and their books' presentations are much more stylish. Ms. Kent had the advantage of having been married to a famous, talented photographer, so her cover photo is the best. It totally represents the exotic, elusive, creative image she cultivated.
Out of the three, the one I probably would like the least if I were to meet her in person, Ms. Kent, is the one whose musings I find to be the most fun to read, as long as you have a glass of wine in your hand and aren't pursuing any intellectual purpose in turning the pages. The reason Kent gets my vote as Best Ballerina Autobiog I've Read Thus Far is because she's playful and not afraid to show how flakey she is. While Gelsey raves on and on about how she would very carefully prepare a meal out of a sliver of apple and a teaspoon of cottage cheese, Allegra lets it all out, going so far as to quote the truly-silly personal ads she used to publish. While Suzanne ruminates endlessly and dramatically about how she thinks Balanchine felt about her (and, like, DOZENS of other ballerinas), Allegra jokes about how she managed to stay on the NY City Ballet payroll despite only performing like once a year.
So despite the fact that she seems the flakiest of them all, my hat's off to Allegra Kent for having the clearest perspective on what would be the most useful (both from a writer's and reader's perspective) content to put in an autobiography that is to be read by the kind of people that would invest the time in reading a ballerina's autobiography. Because, when you think about it, why would anyone read a ballerina's autobiography? Ballerinas are there to be observed on the stage. We're reading for fun. Allegra, true to her adopted name, is fun.
