This 1936 classic remains a touchstone for balletomane children. Orphans Pauline, Petrova and Posy Fossil are adopted by eccentric Great Uncle Matthew; when the money runs out, they take to the stage to pay the bills. I believe the book’s endurance is down to its depictions of adolescence as much as the dance detail. The characters are complicated, enviable, flawed. Pretty Pauline’s temper tantrum is one of the best meltdowns in any literature, and results in one of the most relatable comeuppances. The writing is suffused with a teenage sensuousness: costumier’s fabrics such as organza and taffeta seem to caress the reader’s skin as well as the characters’.
Last modified on Thu 17 Dec 2020 11.18 EST
I remember when ballet was all about bucking up, scraping shillings together for shoes and sharing ribbons, with parts going to whoever had the most vivid eyes and bounciest hair. Simpler times. Of course, that may be because my sole exposure to the world of ballet was via Noel Streatfeildâs prewar masterpiece Ballet Shoes. Looking back, I can see that the novelâs tale of Pauline, Petrova and Posy Fossilâs trials and tribulations at the Madame Fidolia School of Plucky Young Things, wherein hard work, honesty and the occasional intervention from Nana solved most problems, probably wasnât an accurate portrayal of the world of elite dancers, even in 1936.