Dancer: A Novel - Hardcover

Über die Autorin bzw. den Autor

Colum McCann is the author of  books including This Side of Brightness, Zoli, Songdogs and Let the Great World Spin. He has received the International IMPAC Dublin Literary Award, a Pushcart Prize, and was named the first winner of the Grace Kelly Memorial Foundation Award and the Princess Grace Memorial Literary Award. He lives in New York City.

Rezensionen

McCann's latest (after Everything in This Country Must) is hugely ambitious: a fictionalized account of the life of Rudolph Nureyev-the Cold War danseur noble lauded as the world's first "pop star dancer"-as told by those who knew him. Among the narrators are the irrepressible Yulia, the daughter of Nureyev's first ballet teacher; Margot Fonteyn, Rudik's brilliant dance partner; Victor, a gay hustler from the Lower East Side with a penchant for blow, bath houses, and back talk; and others. What emerges is a pastiche of both the man and the myth, the disparate voices combining to create a lyrical and variegated portrait. The narrative technique can, however, be disorienting and even frustrating, as the reader cares more about some narrators than others and is loath to depart from them. McCann also has a somewhat irksome tendency to over-explain moments he should allow to resonate on their own. Still, the work hangs together well and is finally an enormous achievement. Both the Soviet Union of the war-torn 1940s and the displacement and hopefulness of an exile's life are perfectly evoked, and Nureyev-impossible, erratic, and brilliant-is a golden flame that sets everything ablaze. Recommended for all contemporary fiction collections.
--Tania Barnes, "Library Journal"
Copyright 2002 Reed Business Information, Inc.

A chorus of voices breathe new life into the story of Rudolf Nureyev, one of ballet's greatest performers, in this vibrant, imaginative patchwork of a novel by Irish expatriate McCann (This Side of Brightness, etc.). As a seven-year-old peasant boy in 1944, Rudi dances for wounded soldiers in a hospital ward during World War II. By the mid-1950s he has outgrown life in the tiny Soviet town of Ufa, his unfailing determination to perform (against the stern wishes of his father) driving him into the wider world. It is his stubborn persistence more than his natural talent that distinguishes him, but his first teachers see great potential in him, and he is accepted into a ballet company in Leningrad. He defects to France and later moves on to Italy, where "the ovations become more exhausting than the dance" and he is sucked into the drug and disco culture of the late '70s, even after his partner Margot Fonteyn urges him to stay focused. A relationship with New York gay hustler Victor Pareci allows Rudi to indulge his wildest impulses, but his brashness and self-absorption are tempered when he journeys back to his homeland in 1987 in the touching conclusion. The sections narrated by different characters, some central and some marginal, create a kaleidoscopic effect. Faithfully capturing the pathos and grim poverty of the Soviet Union at mid-century, McCann also reveals a splashy tabloid affinity for the excesses and effects of fame and notoriety. Though the focus here is narrower than that of McCann's previous works, the novel is a lovely showcase for his fluid prose and storytelling skill.
Copyright 2002 Reed Business Information, Inc.

For three decades, the legend of ballet dancer Rudolph Nureyev spread from continent to continent: the semicultured boy from Ufa who takes the Leningrad dance world by storm; political asylum in Paris; the amazing partnership with Margot Fonteyn; the matinee idol dancer; the hyperactive sex life; the enfant terrible. Actual events and qualities of Nureyev's public persona are tossed together in this novel, and his legend, nearly 10 years after his death, becomes myth. Some of the characters are real (Fonteyn, for instance), while others have sprung from the author's imagination. McCann is such a good writer that, real or not, the characters' powerful voices lead the reader to suspend disbelief on an entirely deeper level. Only dance writers and true Rudi fanatics will be able to distinguish the real from the imaginary, and one even suspects they might have some problems. Still, even those who have never been to a ballet--or seen Nureyev dance--will find this book enjoyable. Frank Caso
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