From the author of Apollo's Angels, the first major biography of the figure who modernised dance: an intimate portrait of the man behind the mythology, set against the vibrant backdrop of the century that shaped him Balanchine's radical approach to choreography reinvented the art of dance and his richly evocative ballets made him a lasting legend. Today, nearly thirty years after his death, the man is still so revered that the mysteries of his biography are often overlooked. Who was George Balanchine? Born in Russia under the last Czar, Balanchine experienced the upheavals of World War One, the Russian Revolution, exile, World War Two and the cultural Cold War; he was part of the Russian modernist moment, a key player in Paris in the 1920s, and in New York he revolutionized ballet, pressing it to the forefront of modernism and making it serious and popular art. His influences were myriad. He considered himself Georgian, yet he did not step foot in his ancestral homeland until he was in his fifties. He was deeply influenced by the cold grandeur and sensuous beauty of the Orthodox Church, but equally absorbed by the new rhythms and dance steps coming out of Harlem in the 1930s. He collaborated broadly, with figures like Diaghilev and Stravinsky. A man of muses, Balanchine was married five times, always to young dancers, and consumed by many other loves in between. The difficulties of his life - personal losses, bouts of ill health, debilitating loneliness and dark moods of despair - resonate in his dances, which speak so poignantly of love and loss, and yet the full implications for his art remain unexplored. Now for the first time we look beyond the myth of 'Mr B' - the mask which Balanchine himself helped to create - to see 'Mr B' the man.

George Balanchine did for dance what Picasso did for painting: he changed the art and the way we see the human form. In this magisterial cultural history, Jennifer Homans follows Balanchine from his childhood in Tsarist St Petersburg, through the upheavals of the Russian Revolution, two World Wars, and the cultural Cold War, to New York, where he co-founded and ran the New York City Ballet. His influences were myriad: he considered himself Georgian, yet did not visit his ancestral homeland until his fifties; he was deeply impressed by the grandeur and beauty of the Orthodox Church, but equally absorbed by the new rhythms coming out of Harlem in the 1930s. He was part of the Russian avant-garde and excited by surrealism and other artistic movements, collaborating broadly, with figures like Matisse, Diaghilev and Stravinsky. Above all, he was inspired by the young dancers he worked with, sculpting their bodies even as they reshaped his imagination, often to the point of romantic infatuation. Mr B. gathered around him successive generations of people who believed in his artistic vision as fervently as he did, and both the passions that animated him and the difficulties of his life - personal losses, bouts of ill health, and spiritual crises - resonate in his dances, which speak poignantly of love, loss and mortality. With unprecedented access to his papers and those who knew him, Homans tells a story of love and exile; of colossal talent and the boundless energy it took to reimagine dance. This is an epic portrait of one of the most fascinating figures of the twentieth century.

NATIONAL BESTSELLER
For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, "Apollo's Angels"--the first cultural history of ballet ever written--is a groundbreaking work. From ballet's origins in the Renaissance and the codification of its basic steps and positions under France's Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, emigre dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, as "Entertainment Weekly "notes, brings "a dancer's grace and sure-footed agility to the page."
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY "THE NEW YORK TIMES BOOK REVIEW" - "LOS ANGELES TIMES - SAN FRANCISCO CHRONICLE - PUBLISHERS WEEKLY"

Apollo's Angels is a major new history of classical ballet. It begins in the courts of Europe, where ballet was an aspect of aristocratic etiquette and a political event as much as it was an art. The story takes the reader from the sixteenth century through to our own time, from Italy and France to Britain, Denmark, Russia and contemporary America. The reader learns how ballet reflected political and cultural upheavals, how dance and dancers were influenced by the Renaissance and French Classicism, by Revolution and Romanticism, by Expressionism and Bolshevism, Modernism and the Cold War. Homans shows how and why 'the steps' were never just the steps: they were a set of beliefs and a way of life. She takes the reader into the lives of dancers and traces the formal evolution of technique, choreography and performance. Her book ends by looking at the contemporary crisis in ballet now that 'the masters are dead and gone' and offers a passionate plea for the centrality of classical dance in our civilization. Apollo's Angels is a book with broad popular appeal: beautifully written and illustrated, it is essential reading for anyone interested in history, culture and art.

"When the facts change, I change my mind-what do you do, sir?" A great thinker's final testament: a characteristically wise and forthright collection of essays spanning a career of extraordinary intellectual engagement "In an era of growing anti-intellectualism, [Judt's] essays remind us of what we gain when we stick fast to high ethical and intellectual standards, and what is lost when we let them slip." -Mark Mazower, Financial Times "Scintillating journalism." -Samuel Moyn, The New York Times Book Review In an age in which there has been an erosion of fact-based journalism and the lack of independent public intellectuals has often been sorely lamented, Tony Judt played a rare and valuable role, bringing together history and current events, Europe and America, the world as it was and as it is with what it should be. In When the Facts Change, Tony Judt's widow and fellow historian Jennifer Homans has assembled an essential collection of Judt's most important and influential pieces written in the last fifteen years of his life, when he found his voice in the public sphere. These seminal essays reflect the full range of Judt's concerns, including Europe as an idea and in reality; Israel, the Holocaust, and the Jews; American hyperpower and the world after 9/11; and issues of social inclusion and social justice in a time of increasing inequality. Judt believed his real job was not to say what wasn't but to say what was--to tell a convincing, clear story from available evidence, and to do it with a view of what was right and what was just. This was not only a duty, but a moral responsiblity for Judt and When the Facts Change is a testament to his legacy. Judt's book, Ill Fares the Land, republished in 2021 featuring a new preface by bestselling author of Between the World and Me and The Water Dancer, Ta-Nehisi Coates.