After caring for her husband in hospice, Kelly becomes a 52 year old widow. full of regrets, The first year, she spent not changing a thing. With more time and money than she knows what to do with , she impulsively signs up for ballroom dance with a Russian dance instructor. She also goes back to Hospice to volunteer and meets a spirited young mother Carolina eager to make the most out of every moment she has. Between Carolina ,her long time best friend Elyse and the dance classes, Kelly faces truths about her life, learns to embrace life and forms her new found unorthodox family in unexpected ways.
+ loved all the dance references!!!
+ trie to life descriptions of living with a loved in hospice and volunteering following the other person’s lead- kind of like dance
+ 50+ year old characters as elegant, strong. Graceful
+ forming family with deep bonds beyond romantic attachments
+ beautiful cover photo of dancers’ feet
Best quote: “you have to lose your balance in order to find it.” 272
1st book “love in mid air” about Elyse & infidelity
Quotes:
13 this is embarrassing but I accidentally stole an apple from the grocery store next-door and I was trying to get back to pay when my phone rang and I looked down and I ended up here. It sounds even stupider when I say it out loud.
Quinn nods Quinn nights again with the same annoying yoga girl exaggerativecalm. So you don’t want to dance?
Well of course I do. Everyone wants to dance. I mean, someday I want to dance but right now I just am trying to pay for my Apple. Coming in here was an accident.
You know, Quinn says tilting her head, I’ve never believed in accidents. So you’re here for the first introductory lesson.
Evidently
15-16 about dance shoes: The higher the heels, the better you’ll move. No really, I swear. It’s like you have to deliberately get yourself off balance before you learned how to balance. I know it doesn’t make any sense, but trust me.
What dance is this – foxtrot? Walls? Or just an elaborate sort of shuffle he’s made up to accommodate a woman clearly old enough to be his grandmother? Yet. Period. There’s a heartbreaking kindness in the way he dances with her. He deliberately reigns himself in, downplaying his youth and strength, and he turns her gently again and again, as if he is showing her off to an imaginary crowd. She is barely moving but he has managed to make her come alive. Everything about the woman is absurd. There are some ears of turquoise on her eyelids and even from a distance I can tell she dipped a shaky finger into a pot and splashed the color on like war paint. Some Grand Am unaware that time has passed by. But this man is completely focused on this woman. He sees her. Most men do not look at aging women. I know this because in the last five years I have begun to fade from the eyes of men. And yet this particular man, young and strong as he is, sees this particular woman. He swirls and bowels and pivots around her, honoring the space she occupies. And when she finally turns back to me, I can see she is radiant with joy.
19 personally I blame Cinderella or maybe Dorothy from the Wizard of Oz. Between those two, there isn’t a woman alive in America today who doesn’t think her whole life would be transformed if she could just find the right pair of shoes.
21 Her lawyer friend Elyse: have you ever noticed how when you lose one thing, your mind kind of circles back to everything else you ever lost? You break up with a guy and boom, it’s like all the guys you ever broke up with suddenly pull in the your driveway and get out of the same car. Or you walk into a funeral home and you remember every other time you’ve been there and the next time you know, five funerals are going down at once. You start crying and you don’t even know why, and people say what’s wrong? And you say nothing, but you still keep crying. So I’m just saying that Lewis and Mark might be like losing Daniel all over again.
22 The dance studio. Period. It was so tacky, at least. All silver and blue and sparkly it over the top. It was like you took everything that’s me and created the opposite. I think I’ve gone and done something stupid.
“Well thank God,” Elyse says, “it’s about time.”
101 Dance teacher Quinn: “ you’re in the zone where people learn. When you’re uncomfortable with what you’re doing but not so uncomfortable that you can’t move at all. We call it optimal frustration.”
About Dance: Nick never tells anyone she’s good. I doubt he would even apply the word to the pros, because he knows dance is a slippery summit. So you work on that for a week but by then you lost the foxtrot. And there is always somebody younger, stronger, and prettier nipping at your heels. I suppose that’s what makes dance addictive. Your deer that you’re moving towards something but never quite arriving. The truth is costing all of us different things.
116 it’s scary to think that I might want something that Mike’s money can’t buy any, something that being the pretty girl won’t help me get either. Scary to want something that I can only give myself.
I want this and no one else can give it to me. But, it occurs to me that if you want something that no one else can give you, then no one else can take it away from me either, and there’s a certain comfort in that. I’m going to figure out a way to stand tall and give Nick the sort of frame he’s asking you for.
144 A lot of things become clear to me as I watch the competition, in fact, most because everything nicks ever said is being acted out before my eyes. He’s always telling me to put power in my step from the start. This goes against my natural inclination, and probably everyone’s natural inclination. When some thing is new and you’re uncertain, do you want to keep it controlled and careful, at least until you’re sure you’ve memorized the sequence. Nick won’t let me do that this. He says things like we are go across the room and five steps without telling me what those five steps are going to be. And when I beg him to let me learn the routine before I put in the power, he shakes his head. Power first, then finesse. If you don’t have the energy from the start, then it’s hard to put it in later. By that time you’re proud of the pretty little steps. You don’t want to mess them up or change something it seems to be working and so you stay small and now here before me all over this ballroom I can tell C the truth what he’s been saying. People who started out careful and never figured out how to get bigger. The form is correct. Your timing is accurate. They don’t make any obvious mistakes. They are trying hard not to come in last. But they are actually dancing.
154 in the walls, the shoulders should be relaxed, the upper arm lifted this in itself is hard enough – with the elbow in perfect alignment with the shoulder and the wrist strap flat against the man’s bicep. Who knew the human arm had so many parts? Or the hand? But the music starts and there arehundreds other things to remember, it’s easy for your hand to forget it’s graceful task and become a grasping cloth. Pulling the air in search of any solid surface – preferably your instructor. But frustration is what we’re paying for. Frustration is what we all want.
155 about Isabel a high maintenance dancer: Isabel seems to understand that it isn’t necessary to be everyone’s favorite and I would imagine that realization must feel like manacles falling off your ankles.
216 dance instructor tunes off the light to “release”
“You’re afraid to fall, aren’t you?”
Anatole says you need both elements and dance, both passion and technique, both abandon and control, but hardly any personality has room for both. And yet, he says we must keep trying, working to find a balance. “Dances, “he announces in his best James Earl Jones voice, “an art in which everyone will ultimately fail. “.
This one has sharper points on it!
219 I spent the first half of my life thinking that if somebody liked me, it was because I was pretty. I’ll be damned if I spend the last half thinking that people only like me because I’m rich.
267 We review which steps I know in tango and he tells me what which sequence he’ll try to work them in. He reminds me that when we get out on the floor with other dancers all around us, I shouldn’t be surprised if he mixes it up a bit. There isn’t always enough room to move along the clear line of dance. People step in front of you, sometimes by accident, but there are even dancers who deliberately try to cut you off. I have to trust him, he says. He knows how to find the open floor.
“But even if you do not always know where you’re going, “he says, “you must take big steps. “
271 Izvinite- forgive me ( said by Anatoly after the attack 260)
272 and totally does the simplest and gentlest of tangos, leads me almost like a father with a child. He lifts his arm, and I move under it. He steps back as I step forward and for some reason I think of what Quinn said the first day I came into the studio, something about how you have to lose your balance in order to find it. I had no idea what she meant at the time and I still don’t understand it fully, but I know that somehow somewhere a spell is being broken. So many things have been taken from me lately – some of them ripped away with more cruelty than I would have thought possible – and yet I am dancing. I stretch my rib cage and inhale. Let myself become big. The floor beneath my feet feels broad and solid in my story, I believe we are eating differently this time. The prince has come and gone but Cinderella is still at the ball.