BLURB:
For Indigo Stevens, ballet classes at Miss Roberta’s ballet studio offer the stability and structure that are missing from her crazy home life. At almost 16, she hopes this is the year she will be accepted into the New York School of Ballet. First she must prove she’s ready, and that means ignoring Jesse Sanders – the cute boy with dimples who is definitely at the top of Miss Roberta’s List of Forbidden Things for Dancers.
But Jesse is the least of Indigo’s concerns. When she discovers her mom is an alcoholic, it simultaneously explains everything and heaps more worry on Indigo’s shoulders. As her mom’s behavior becomes increasingly erratic, Indigo fights to maintain balance, protect her younger brothers from abuse, and keep her mother from going over the edge. When the violence at home escalates, Indigo realizes she can no longer dance around the issue. At the risk of losing everything, she must take matters into her own hands before it’s too late.
~~~~~~~~~~~~~
Excerpt One:
I hold the barre lightly with my left hand and begin moving when the music starts. It’s the same music I’ve heard in every ballet class I’ve taken for the past ten years. We always start with pliés.
My knees bend in time to the music: demi plié, demi plié, grand plié. My body moves through the positions while my mind replays the scene in the car. The image of my mother’s uvula is stuck in my brain.
“Indigo, where is your focus this morning?” Miss Roberta’s voice pulls me back into the present moment. I glance in front of me at Marlene’s feet and realize I’m in the wrong position. I shake my head to clear it. Go away, Mom. This is the one place where I get away from you – even if it’s only for an hour and a half.
Compared to the rest of my life, ballet classes are refreshingly orderly and predictable. Barre exercises always follow the same routine. Do everything that works the right leg, then turn and repeat everything with the left.
We move through the barre exercises. Every beat of the music dictates what comes next. The rhythm makes demands and the body answers with precision. Already my muscles are beginning to feel warm and stretchy.
“Monique, your leg does not end at your ankle. Point those toes! Jeanine, you’re sagging. Stand up straight!” Miss Roberta’s voice carries through the room. Today she’s all in pinks with a floral chiffon headscarf. She’s the classic tiny dancer: dark-haired with pert features. Her eyes flicker across the class, constantly appraising technique and posture. Even though she’s tiny, she commands the room. If she sees imperfections or lack of good effort, she will call you out.
For Indigo Stevens, ballet classes at Miss Roberta’s ballet studio offer the stability and structure that are missing from her crazy home life. At almost 16, she hopes this is the year she will be accepted into the New York School of Ballet. First she must prove she’s ready, and that means ignoring Jesse Sanders – the cute boy with dimples who is definitely at the top of Miss Roberta’s List of Forbidden Things for Dancers.
But Jesse is the least of Indigo’s concerns. When she discovers her mom is an alcoholic, it simultaneously explains everything and heaps more worry on Indigo’s shoulders. As her mom’s behavior becomes increasingly erratic, Indigo fights to maintain balance, protect her younger brothers from abuse, and keep her mother from going over the edge. When the violence at home escalates, Indigo realizes she can no longer dance around the issue. At the risk of losing everything, she must take matters into her own hands before it’s too late.
~~~~~~~~~~~~~
Excerpt One:
I hold the barre lightly with my left hand and begin moving when the music starts. It’s the same music I’ve heard in every ballet class I’ve taken for the past ten years. We always start with pliés.
My knees bend in time to the music: demi plié, demi plié, grand plié. My body moves through the positions while my mind replays the scene in the car. The image of my mother’s uvula is stuck in my brain.
“Indigo, where is your focus this morning?” Miss Roberta’s voice pulls me back into the present moment. I glance in front of me at Marlene’s feet and realize I’m in the wrong position. I shake my head to clear it. Go away, Mom. This is the one place where I get away from you – even if it’s only for an hour and a half.
Compared to the rest of my life, ballet classes are refreshingly orderly and predictable. Barre exercises always follow the same routine. Do everything that works the right leg, then turn and repeat everything with the left.
We move through the barre exercises. Every beat of the music dictates what comes next. The rhythm makes demands and the body answers with precision. Already my muscles are beginning to feel warm and stretchy.
“Monique, your leg does not end at your ankle. Point those toes! Jeanine, you’re sagging. Stand up straight!” Miss Roberta’s voice carries through the room. Today she’s all in pinks with a floral chiffon headscarf. She’s the classic tiny dancer: dark-haired with pert features. Her eyes flicker across the class, constantly appraising technique and posture. Even though she’s tiny, she commands the room. If she sees imperfections or lack of good effort, she will call you out.
Grier Cooper (also known as the writer in a dancer's body) is a California based writer, photographer, and dancer. She received her professional training from the School of American Ballet and performed worldwide with the San Francisco Ballet, Miami City Ballet, and Pacific Northwest Ballet. Today she lives in a seaside hamlet with her husband, daughter and Coco Chanel (a black standard poodle). She draws on over thirty years of experience as a dancer, teacher and performer to create stories and art to inspire others.
AUTHOR LINKS:
Website: http://www.griercooper.com
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AUTHOR LINKS:
Website: http://www.griercooper.com
Twitter: http://twitter.com/griercooper
Facebook: http://www.facebook.com/griercooper
Instagram: http://instagram.com/griercooper/
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