Sari Wilson

Girl Through Glass

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An enthralling literary debut that tells the story of a young girl’s coming of age in the cutthroat world of New York City ballet—a story of obsession and the quest for perfection, trust and betrayal, beauty and lost innocence.
In the roiling summer of 1977, eleven-year-old Mira is an aspiring ballerina in the romantic, highly competitive world of New York City ballet. Enduring the mess of her parent’s divorce, she finds escape in dance—the rigorous hours of practice, the exquisite beauty, the precision of movement, the obsessive perfectionism. Ballet offers her control, power, and the promise of glory. It also introduces her to forty-seven-year-old Maurice DuPont, a reclusive, charismatic balletomane who becomes her mentor.
Over the course of three years, Mira is accepted into the prestigious School of American Ballet run by the legendary George Balanchine, and eventually becomes one of “Mr. B’s girls”—a dancer of rare talent chosen for greatness. As she ascends higher in the ballet world, her relationship with Maurice intensifies, touching dark places within herself and sparking unexpected desires that will upend both their lives.
In the present day, Kate, a professor of dance at a Midwestern college, embarks on a risky affair with a student that threatens to obliterate her career and capsizes the new life she has painstakingly created for her reinvented self. When she receives a letter from a man she’s long thought dead, Kate is hurled back into the dramas of a past she thought she had left behind.
Told in interweaving narratives that move between past and present, Girl Through Glass illuminates the costs of ambition, secrets, and the desire for beauty, and reveals how the sacrifices we make for an ideal can destroy—or save—us.
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338 printed pages
Publication year
2016
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Quotes

  • cloudboathas quoted8 years ago
    An eerie silence comes over the city, as if it remembers how it is to be naked in the night.
  • cloudboathas quoted8 years ago
    I tell them that Nijinsky’s dancers were often in open revolt at his choreography. “He made them use their bodies against every bit of training that they had ever received in the ballet academies of Russia and France. He asked them to betray everything they’d worked for.”
  • cloudboathas quoted8 years ago
    The DVD starts. Here is the opening of Le Sacre—fierce tableaus of people in bearskins and Roman sandals. A set of pointy trees, a round and ruthless sun. Their movements stab and jab and rush along with the thunder and jolt of Stravinsky’s score. Halfway into the piece the group parts and reveals the shimmering awkward girl, the sacrificial lamb. She dances her strange stiff-limbed expressionless solo. Ostensibly it’s the story of the ritual pagan sacrifice of a young woman who dances herself to death, but the choreography tells another story.
    She strikes out, scours the stage with extended limbs, pushing back her attackers. She’s not cowering, but filled with rage at her fate. She’s not a lamb at all. At the final discordant climb of the shattering music, the group rushes toward her and raises her high above them, and it feels like a victorious moment. But a victory of what?

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