"At the ballet, you really feel like you're in the presence of something outside the rest of your life. Higher than the rest of your life"
About this Quote
At the ballet, Caro reaches for a word most biographers ration carefully: transcendence. This is a man famous for treating power as something brutally terrestrial - votes counted, favors traded, bodies exhausted, cities remade. So when he describes ballet as "outside the rest of your life", he’s not just praising an art form; he’s admitting a rare escape from the moral weather of his own subject matter. The repetition - "outside... Higher" - feels like a private correction, as if "outside" isn’t strong enough. He wants altitude, not merely distance.
The intent is almost stubbornly physical. Ballet isn’t framed as entertainment or culture-as-status. It’s a sensation of entering a separate climate where time behaves differently and the human body refuses its usual limitations. Caro’s subtext is that everyday life, including the life he chronicles, has a gravitational pull: compromise, routine, ambition, exhaustion. Ballet becomes the opposite of that - not pure in a naive sense, but disciplined into seeming purity. The "higher" isn’t moral superiority; it’s verticality, lift, suspension, the staged miracle of weightlessness.
Context matters because Caro’s entire career is an argument that systems shape souls. Here, he’s confessing that systems don’t get the last word. For a writer who documents how power narrows reality, ballet offers a counter-reality: temporary, crafted, unquestionably human, and still somehow beyond the human day-to-day.
The intent is almost stubbornly physical. Ballet isn’t framed as entertainment or culture-as-status. It’s a sensation of entering a separate climate where time behaves differently and the human body refuses its usual limitations. Caro’s subtext is that everyday life, including the life he chronicles, has a gravitational pull: compromise, routine, ambition, exhaustion. Ballet becomes the opposite of that - not pure in a naive sense, but disciplined into seeming purity. The "higher" isn’t moral superiority; it’s verticality, lift, suspension, the staged miracle of weightlessness.
Context matters because Caro’s entire career is an argument that systems shape souls. Here, he’s confessing that systems don’t get the last word. For a writer who documents how power narrows reality, ballet offers a counter-reality: temporary, crafted, unquestionably human, and still somehow beyond the human day-to-day.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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