Patricia Hruby Powell

What do you know about Nijinsky? He was a legendary dancer, homosexual, he caused a riot in Paris when he performed to Stravinsky’s music? All true, but there is so much more as shown in Lynn Curlee’s “The Great Nijinsky: God of Dance” (Charlesbridge 2019).

The photos in the book show a stocky, plain, stationary Slavic-looking man with decidedly small feet. Only one photo hints at Nijinsky’s brilliance as a dancer. Yet the artwork of the author/illustrator suggests the dancer’s theatrical genius.

Born in 1890, a Pole in Russia, he was educated at the preeminent Imperial Ballet School in St. Petersburg and joined the Imperial Ballet upon graduation. In 1909, he was wooed by the great impresario Sergei Diaghilev to dance in his Ballet Russe. At the time, Vaslav Nijinsky was heterosexual but Diaghilev required complete dedication which included being his lover. With Nijinsky dancing and luminaries Michel Fokine as choreographer and artist Leon Bakst producing sets and costumes, Ballet Russe was innovative beyond anything Paris or the world had ever seen.

The book is divided by the great ballets, each with an illustration, program details, blurbs from reviews, and the ballet’s story. They include Fokine’s Firebird, Scheherazade, Carnaval, Specter of the Rose, Petrushka—all titles known to balletomanes. The story of Nijinsky’s life is interspersed. Nijinsky soon came to hate Diaghilev, but Diaghilev was conducting Nijinsky’s remarkable career, so the dancer remained living with the entrepreneur.

Whereas Nijinsky was thought to be a dull, shy man, he was lauded as a miracle on stage—the most accomplished, brilliant dancer of the early 20^th century. This is entirely based on memories, reviews, photos, because there is absolutely no existing footage of Nijinsky’s dancing. He was known as a sex symbol—a genius performer.

            In 1912 Nijinsky choreographed Afternoon of a Faun on the Ballet Russe, to music of Debussy. A remarkable costume sketch by Leon Bakst is included and the dance is described as, “spare, severe, strangely erotic, totally original, and very beautiful.” Nijinsky required his dancers to abandon their classical training to execute challenging movement created to get from one “awkward” pose to the next. Some audience members, accustomed to lyrical Russian ballet hated it; some loved it. Regardless, Nijinsky was considered the “God of Dance.”

For the 1913 premier of Nijinsky’s Rite of Spring, Igor Stravinsky “composed a revolutionary score so audacious and original, so brutal and harsh, that when combined with Nijinsky’s unconventional choreography, it caused the audience to riot.” The yelling Parisians drowned out the orchestra so the dancers couldn’t hear it. Fist fights broke out amongst the audience.

Soon after, the Ballet Russe was booked to tour South America. Diaghilev stayed behind. On the voyage Nijinsky met a beautiful Budapest society girl, Romola de Pulszky, and married her, never thinking that Diaghilev would withdraw his support. But he did. Nijinsky’s career and mental health plummeted. Without the support of Diaghilev, Nijinsky, unable to dance, spiraled into mental illness and was institutionalized in 1919. He died in an asylum in 1950.

His life was tragic, his legacy stellar. I, among so many other dancers and admirers long to have seen this man dance.

Patricia Hruby Powell’s newest book, Lift As You Climb: The Story of Ella Baker is available, signed from Jane Addams Bookstore or available wherever you buy books.         talesforallages.com

The grandparents, Marla and Gottfried, sold off the family potato farm and developed it into a suburban subdivision to make a fortune. Their five children, who did not benefit from their parent’s new wealth, are all a wreck in one way or another, and their five children, the teens in the story, are a lot more together than the previous two generations, in “Dig” (Dutton 2019) by A.S. King, winner of the prestigious Printz Award.

The cover image at first glance looks like something anatomical, vaguely heart-like, but a closer look shows potatoes and their root system—the perfect image for this book.

So, there are twelve main characters plus two others—and they have actual names, but you don’t learn them until near the end of the book. The young adult generation in the story are Malcolm, the Shoveler, Loretta the Flea Circus Ringmaster, CanIHelpYou?, and the Freak. If I didn’t read in bed on my way to sleep, I would have made a chart and filled in their names as I went. And their lineage—which one is their parent.

I trusted, as I read this magical fabulously-written book, that it would come clear if I just let it wash over me. Well, sort of, but I still would have benefited from that chart. As it was, I actually had to keep thinking—THINKING—who was the parent of this one, who was the child of that one. But the microcosmic bits keep you going.

We get the history of the potato, which in itself, is fascinating, but is it as stupendous as the invention of the flush toilet, Malcolm wonders. The Shoveler wants to know who his dad is, while his mother is busy shoplifting porkchops. Loretta is a mess of flea bites, but it’s worth it because the fleas she keeps in her lunch box keep her going. CanIHelpYou? takes orders at a fast food window, as well as fills drug orders from her clients. The Freak “flickers” from place to place, visiting each of her four estranged cousins. This is the thread of magical realism that runs through the story. And we wonder why, until we finally get it near the end.

All of these kids and their parents could have their troubles ameliorated if the grandparents would part with a little of their cash—all except CanIHelpYou? who turns out to have immensely rich parents herself. The author addresses entitlement—specifically white entitlement—as well as racism and colonialism. Malcolm frequently visits Jamaica with his father who is dying of cancer, and maybe falls in love with a Jamaican girl. You might think I’m delivering a dozen spoilers here, but trust me, you’ll appreciate the help these spoilers offer. There’s so much to dig through here. Oh yes, and it’s a mystery.

Here is a perfect example of Young Adult literature being break-out literature—and it’s literature that will be read (by young adults and adults)—not sit gathering dust on a bookshelf.

Patricia Hruby Powell’s new and timely book about civil rights and the vote Lift As You Climb: The Story of Ella Baker releases on June 9, 2020. She teaches community classes at Parkland.         talesforallages.com

Nine boys (from nine to fifteen years old) and three men are dropped off at the nearly vertical Warrior Stac—one of the tiny rock islands of the St. Kilda Archipelago in the far northwest of Scotland. The year is 1727. Every summer a group of boys goes “fowling” to collect gannets, puffins, petrels and other birds for the meat, eggs, feathers, bones and oil to pay as rent to the owner of their island, Hirta. The amazing Geraldine McCaughrean spins her tale from a true event in “Where the World Ends” (Flat Iron 2017).

After a couple months the Hirta boat will fetch the men and boys home, with their haul of dead birds. But the boat doesn’t arrive. Day after day they wait.

Wise and humble Quill, one of the older boys, has become a natural leader. He comforts the younger boys with stories—although Quill doesn’t understand why they look up to him. He also fantasizes about the young woman, Murdina, who had visited Hirta last year from the mainland.

One of the men, who insists upon being called Colonel Cane, the grave digger in their small community on Hirta, names himself the Minister of the boys. He tells the boys the world has ended and their people have been taken by angels to Heaven and forgotten those on Warrior Stac. Of course the boys are distraught. Cane then requires the boys to confess to him. Jealous of Quill’s power, Cane banishes Quill.

As Quill climbs down the treacherous cliff from Midway Bothy to Lower Bothy, rage keeps Quill alive although he is “drowning in dark.” He finds a shallow cave to protect him from cold and stormy weather. The youngest boy, Davie, is the first to visit Quill.

One by one the other boys visit him in his exile and Quill comforts them by giving each a job according to how they are needed: “Keeper of Faces,” “Keeper of Memories.” He advises them “Do not dwell on the unbearable.”

Kenneth is the teen bully who was “the great snitcher, who used information like a crowbar to thrash his way through the world.” Even he visits Quill as does Quill’s best friend Murdo. But Murdo grows jealous of Quill. The reader will wonder is this a redux of Lord of the Flies?

This richly imagined world, to me, offers more, partly by imparting the technology such as ropes used to help scale escarpments—made on Hirta of sheep skin and horsehair. While exhiled on the stac, the boys string a horsehair taken from a rope through an oily bird, for a wick and it becomes a candle.

In time the boys give up hope, the birds leave for the winter, the storms arrive in full force—and the months pass. Starvation sets in.

Spoiler: The world had not ended, but a smallpox epidemic reduced their Hirta community to a handful of people and no one was able to captain the boat to Warrior Stac. In actual history, every man and boy returned home and found only one Hirta survivor. Both stories are riveting.

Patricia Hruby Powell’s Lift As You Climb: The Story of Ella Baker will be celebrated at her Virtual Book Release Party. Check https://talesforallages.com/ for link.

At the Massachusetts School for the Feebleminded, we become acquainted with four remarkable young women in the historical fiction, “The Degenerates” (Simon & Schuster 2020) by J. Albert Mann. Alice, who rarely speaks, is African American, has a clubfoot—a special talent of intuiting relationships between people. Maxine is a dreamer who protects her younger sister, Rose, who has Downs Syndrome and is termed “Mongoloid.” London is pregnant, and of Italian descent—but called “dago.” She curses like a yeoman and is wild, even crass, and yet lovable. Alice, Maxine, and London are fourteen, and Rose is a year younger in this story set in the early part of the twentieth century.

London is beaten by police and brought by wagon to the “School” and put in solitary confinement. She finds that three meals a day and the “pissed on” mattress are acceptable, but the confinement is unbearable. In time, once she’s released from the dungeon into the main school, a generous attendant gives her a book—“The Count of Monte Cristo” by Alexandre Dumas.

The others marvel at London’s ability to read. Rather than reading in this “school,” they’re trained to launder clothes, mop up excrement or take care of dying infants in the baby’s wing. London and Rose build an unlikely friendship likened to a “stevedore” and an “angel” while Maxine and Alice hold each other up with the help of very few words. Bullies in the school provide ever-present danger. Alice must be especially careful because her punishment would be so much worse than that of the white girls.

The staff describes the inmates as “tainted”; they’re diagnosed as “imbeciles,” “morons,” “idiots,” and “cripples”—terms that the author, in her endnote, reports have been taken directly from the historic writings of the doctors. As readers, we’re aghast at the injustice, but even more powerful, we fall in love with the four girls.

The author writes, “Anger wrapped itself around London’s heart like a cold fist and squeezed. She didn’t want help. She didn’t want kindness. Life was crap and she liked it that way. It was easier.” But loving sweet Rose makes her see life differently. And Rose has a plan. Maybe there was hope.

Maxine and Rose were sent to the “School” when their mother found it difficult to care for them at the same time as her many boys. Maxine expects her mother to fetch them home so she and Rose could help care for their younger brothers. But their mother never does come and Maxine knows it’s for her transgression—which remains a mystery to us until deep into the story. Alice has been here since she was seven years old when her brother dropped her off.

In spite of their bleak, violent, racist world, the girls experience deep humanity amongst themselves. They draw strength, inspiration and support from one another. We see that most of the inmates have been put away simply because they are inconvenient to their families. Maybe just maybe some of them will escape and find a way to live outside.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue;Lift As You Climb releases June 9, 2020.  She teaches community classes at Parkland College.         talesforallages.com

A shy talented pianist, Hazel, falls in love with James, a gentle man who aspires to be an architect. But this is 1917 London and WWI is raging. James is unexpectedly called up and shipped out to France to fight in “Lovely War” (Viking 2019), by acclaimed author Julie Berry.

Aubrey Edwards, a Harlem ragtime musician, enlists and becomes a member of the United States 15^th New York Infantry, an all-black regiment of soldier-musicians under the direction of the great jazz composer/band leader James Reese Europe. The 15^th regiment is employed to both play jazz and dig trenches, rather than the “glorious” job of fighting.

Hazel, wanting to help the war effort and perhaps visit James when he’s granted a leave, travels to Saint-Nazaire, France to serve at a YMCA relief hut at an American training base. There, she meets Colette Fournier, a Belgian singer, who has lost her entire family to the Germans. Colette and Hazel become fast friends. They befriend the African American Aubrey and are both smitten with his piano playing—Hazel as a fellow pianist, Colette as a chanteuse. All three are breaking rules by meeting around the piano late at night. Need I say, the book is about war, love, and racial divide. Plus . . .

The story is narrated by Olympian goddess of love, Aphrodite—a story she tells her husband Hephaestus who has just caught his wife cheating with Ares, god of war. Rather than living on Mt. Olympus, the gods reside in a luxurious Manhattan hotel room in the 1940s during WWII.

Back in France, WWI, Hazel watches Colette and Aubrey fall in love. In the gods’ world Aphrodite invokes the four lovers’ story of struggle during wartime, to plead her case to her jealous husband. We fall deeper in love with Hazel, James, Colette, and Aubrey. When white racist American soldiers witness black Aubrey with white Colette together, Aubrey is whisked away to play jazz throughout Europe lest he be murdered by racist white American soldiers at the base. Colette and Hazel are accused of being wanton women by the proprietor of the boarding house and cast out.

In the meantime, James turns out to be a skilled sharpshooter, requiring him to be placed in intensely dangerous battle situations.

War brings tragedy, of course. And war promotes intense love. Berry is a master of weaving historical details into well-crafted beautifully-written fiction. If you love war history or jazz history—and even if you don’t—you might want to experience hope in the face of destruction. Highly recommended.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue and the forthcoming Lift As You Climb.  She teaches writing classes at Parkland College.         talesforallages.com