Dancing for Degas: A Novel Paperback – Mar 16 2010
|New from||Used from|
Customers Who Bought This Item Also Bought
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
Getting the download link through email is temporarily not available. Please check back later.
To get the free app, enter your mobile phone number.
“A thoroughly engrossing and informative story…Degas’ paintings of the Paris Opera Ballet corps come to life in all their freshness and immediacy.”—Historical Novels Review
“Like Tracy Chevalier, Wagner imagines how layers of meaning pervade works of art, but her real forte is detailing the sexual politics of poverty and evoking the rivalry among dancers, especially between stars and the newcomers who wish to replace them. Wagner’s… abandonment of the masterpiece-in-the-making formula is a nice turn.”—Publishers Weekly
“First-time novelist Wagner skillfully compresses the war into a series of brief letters in this engaging tale illuminating the dark side of French society high and low. With appearances by Degas’ peers Cezanne and Monet, this fascinating visit to a bygone world of art and sex, war and love will draw many.”—Booklist
About the Author
Kathryn Wagner is a senior fundraiser for a child advocacy nonprofit in Washington, D.C. She holds a B.A. in journalism with a minor in art and has worked as a staff writer and columnist for several newspapers in North Carolina, Massachusetts, and Virginia. Imagining what has inspired great artists has been a longtime passion of hers. She is currently at work on her next novel.See all Product Description
Most Helpful Customer Reviews on Amazon.com (beta)
In truth, ballet dancers were, for their time, some of the most independent women around. As a female, it upsets me that some of the best women artists have been degraded in this way. This is the Golden Age of Ballet!!! Certainly there was real to life stories that the author could have used to create a compeling story and romance.
Did some dancers become mistresses to very rich men? Yes, they did. But it was a fringe benefit, not the reason for their hard work and sacrifice. Heck, the current first lady of France was once the mistress of the french president. France has a very long history of mistresses and rich powerful men.
Paris Opera ballerinas were never ever forced into prostitution in order to stay in the ballet. It is so sick to create such a story line.
And I'm not even going to mention the distraction of her misuse of dance terminology and form. If you ever danced at a serious level, you will have a really good laugh.
The genre is historical fiction, not fiction historical. I would have given it no stars if amazon would have let me.
Unfortunately, this story is too ambitious for its narrator. We are stuck in the head of the soul-suckingly boring Alexandrie, a self-righteous show-off who sounds like a college student writing pretentious blog comments. Alexandrie's voice -- the multi-syllable words, the cliches, the affect -- rings false for a dancer raised as an illiterate (later tutored) farm girl. Alexandrie is principled about ballet as creating "art" (Where did this come from and why am I supposed to care?) She has secret romantic dreams of marriage -- but contempt for the idea of being a mistress (or worse). In the world of this book, it's not clear why these things are important to her, which makes it difficult to care about her story.
This book does have a promising premise and good structure. It just needs some likeable characters, a realistic historical voice, and that rich detail that h-fiction buffs lust for (what kind of coins do they spend? What kind of fabric do they wear? We want more than we can get on Wikipedia). And any 12-year-old knows that ballet is about drills, schedules, repetition and routine -- I wish we had more of a sense of the daily life in the Paris Opera ballet.
If you haven't read Memoirs of a Geisha, Noel Streatfield's Ballet Shoes, Girl with a Pearl Earring, or Mansfield Park, go dig your teeth into those. We'll have to keep waiting for the great novel on Degas.
Dancing for Degas tells the story of a poor country girl named Alexandrie rising for humble beginnings on a pepper farm in southern France to become a bright presence in the vaunted Paris Opera Ballet and a muse for the artist Edgar Degas. Over the course of the thirteen years in which the narrative takes place Alexandrie contends with familial obligation, theatrical rivalries, unrequited love, moral dilemmas and even a war which crippled the city of Paris.
And yet from all that rich backdrop came only a thin plot line told in a dully simplistic, methodical manner. The author does not weave these themes and plot points into a vibrant tapestry around her main character, but rather sends Alexandrie meandering through them in the flattest, most expositional way possible. There is no dimension to the world of the book, no sights or smells or textures, no feelings or sensations. There is nothing, save for the references to gowns and carriages, to give the reader a sense of Paris in the 1870's, not even the language. The tonal inconsistancies are jarring to say the least with modern phrasing and word usage peppering every page of the book. One notable example that stands out as I write this was the use of the term "tea-length" to describe the length of a skirt...in an era where all women wore floor length dresses...to tea and otherwise. On the rare occasions that the author remembers she's writing a historical novel the speeches become so grandiose and silly that I couldn't help but roll me eyes over them.
The lack of attention to details in general is really appalling. At one point we're asked to believe that in the space of a few hours Alexandrie and her mother travel from their home in the South of France to Paris...by carriage. As obssesed as Alexandrie is with maintaining her virtue she is frequently depicted wandering around the streets of the city in her shin-length tulle practice skirts. It is very clear that the author did a lot of research about Edgar Degas but did not bother herself much about ballet. Her constant misuse of terminology was laughable and despite the fact that the mid-nineteenth century was one of the most important and fertile to ballet as an art-form (creating the bulk of the classical canon and establishing the foundations of modern technique and training) she gives no attention at all to the teachers, the choreographers, or indeed even the ballets themselves which shaped the era...and would actually have supported Alexandrie's assertations about wanting to create art with dance.
Therein lies one of the worst aspects of the book: the grievious insult it does to ballet history and in particular to The Paris Opera Ballet. In this book the author relegates the oldest ballet school in the world to a kind of high brow brothel with the Ballet Master pimping out the veteran dancers and every one of them desperate to ensnare a wealthy man and become his mistress. It is true that their is a dark side to the Paris Opera Ballet's history. They have a long tradition of driving their dancers so hard that it borders on abuse, and yes it's true, the patrons of the ballet had a level of access to the dancers which is uncomfortable. But in that I mean that they watched rehearsals and classes, wandering in and out of the practice rooms, they saw the dancers after performances in the Foyer de Danse...they were certainly not allowed to treat the dancers as their own personal playthings. Of course their were dancers who slept with patrons and of course their were those who became mistresses but it was not ever the point of being a dancer at the Paris Opera Ballet. In fact ballerinas were expected to maintain at least the appearance of demure virtue, it seperated them from the cabaret girls. Few women made themselves rich by ballet alone but most were able to support themselves and had a level of independance which was uncommon in the nineteenth century. I understand that liberties are taken in historical fiction but to take scores of talented and ambitious women and make them into tutu'ed prostitutes is repelant.
This, at least is an opinion Alexandrie and I seem to share but when she runs out of options and must agree to see patrons "post-performance" in order to remain with the ballet she agrees, because she loves dancing so much and that's all she wants to do. Not be a traditional wife, not raise a family just puruse her art and that's it...until it's not. Her character changes gears abruptly in the book's last pages and (SPOILERSPOILERSPOILERSPOILER) she accepts an out-of-left-field marriage proposal from a man she's met twice, leaving the ballet and Paris behind for married life in America without a second thought. Though one could put this down to desperation, heartbreak and defeat wrought by too many years of fighting to keep a girlish dream alive it happens so suddenly that it's simply unbelievable, a sheer contradiction of nearly everything Alexandrie has been droning on about for the bulk of the over-long book.
I was surprised when I came on this site and saw so many positive reviews of this novel. I suppose to each their own but for my opinion I have to say that this is a dull, poorly written assault to history that fails to connect the reader on any level. Dancing for Degas seeks to bring depth to the man and the model responsible for so many great works of art and unfortunately winds up flatter than the canvases they're painted on.