Читать книгу L.A. Woman - Eve Babitz - Страница 14

Chapter Five

THERE WERE PERHAPS a hundred Teretsky dancers during the thirties and forties who passed through the troupe, but of course I only knew four when I was growing up. (My mother and Aunt Helen were not Teretsky dancers and my mother never ever swallowed Trotsky.)

There was Aunt Goldie, Lola, Estelle, and Molly – and of course Goldie was really the star of them all, since Lola and Estelle really only became dancers when it seemed like there was little else to do that was any fun during the Depression. And by the time Molly joined during Lola’s last days, nothing on earth could have made her a star like Goldie for she was not foolish enough to put up with notions of such hogwash and, besides, she never could dance worth beans in the first place.

It was at this class that first day that one of the scouts for Teretsky discovered Lola, who looked like a Martha Graham dancer insofar as having black wavy hair (at least before it was hennaed redder and redder). Lola also managed to look like a dancer that day when she was just twenty-six because anything Vera Minsky (the coach) told them to do, Lola could do better than Minsky herself. Or at least longer. Lola never really was driven like Goldie – Goldie was a dancer. Lola became a dancer because there was nothing else for an artistic girl bent on adventure to do in those days. Lola in fact hadn’t even been terribly interested in getting away from her mother – running away from a stifling home. For though Lola’s home was probably just as stifling as anyone else’s inside, outside it was okay with her.