About the Book
LOVE AND
LONGING IN THE BRIGHT LIGHTS OF LONDON
When iconic ballerina Beatrice Duvall died, a
nation mourned – and a legacy was born. Sixteen years later, her daughter Ava
comes to London to take part in a high-profile tribute to Beatrice, and to learn
about the mother she never knew.
There’s just one snag: the tribute is a
ballet, Swan Lake. Which is infinitely
painful for Ava, because she can’t dance. Won’t
dance. Not since she quit the Royal Ballet School last year and walked away
from everything that defined her.
But
this is London, colourful and crazy, and with actor Seb at her side, there’s so
much to discover. Like Theatreland razzmatazz and rooftop picnics and flamingo parties.
And a whole load of truths Ava never knew about her mother – and herself.
When the time comes to take the stage, will
Ava step out of the shadow cast by her mother’s pedestal? And who will be
waiting for her there, in the bright lights?
A coming-of-age novel about family and first love, in the city of
hopes and dreams.
Author Bio
Once upon a time a little girl told her
grandmother that when she grew up she wanted to be a writer. Or a lollipop
lady. Or a fairy princess. ‘Write, Charlotte,’ her grandmother advised. So
that’s what she did.Thirty-odd years later, Charlotte writes the kind of books she loves to read: romances. She lives in a village of Greater Manchester with her husband and two children, and when she’s not reading or writing, you’ll find her walking someplace green, baking up a storm or embarking on a DIY project. She recently achieved a lifetime ambition of creating a home library for her ever-increasing collection of books. She pretends not to notice that the shelves are rather wonky.
Author Links:
Amazon: https://www.amazon.com/Charlotte-Wilson/e/B00TDH4XLS/
Excerpt:
Disclosure: this post contains links to an affiliate program (Amazon), for which I receive a few cents if you make purchases.
Excerpt:
The Tube from Turnham Green is quiet,
until we reach Earl’s Court, where it starts filling up. By the time we get to
Victoria I’m in a scrum spilling out onto the platform. I find the Victoria
Line platform and shoe-horn myself into a carriage; Seb would be proud of my
elbow action.
At Oxford Circus I’m carried by a sea of
shoppers up the escalators, across the foyer and up some steps to the street
level. I’ve managed to come out the right exit, opposite the flagship Topshop.
The massive store calls to me. Now that’s
where to buy a dress for the tribute. Simple and trendy. I dread to think what
Thisbe’s wardrobe department contact is going to make me. Something showbiz, I
guess: long and loud and sparkly. Ugh.
But I don’t want to offend Thisbe, who’s
called in a favour, apparently, to get me a dress sewn so quickly. So, with a
sigh, I turn my back on Topshop and trudge down Argyll Street. When I see the
Palladium, like a classical temple with massive columns, my mood lifts. At least I’m getting to visit
one of London’s most historic theatres, where anyone who’s anyone has performed
over the years, from Elvis Presley to Judy Garland, Frank Sinatra to Ella
Fitzgerald, Elton to Adele – even The Muppets have taken to this stage. I wonder:
will I get to stand on the stage?
Nope, is the answer. I don’t even see the
auditorium. A security guard shows me from the foyer down into the underbelly
of the theatre, to a small, windowless room made even smaller by its many
contents: two dressmaker’s dummies, a hanging rail of costumes, shelves of
fabric and haberdashery, and a desk for the sewing machine. I barely have time
to make a mental comparison of this room and the wardrobe department at the
Royal Opera House – in a big room overlooking the Piazza and flooded with light
– before a girl springs out from behind one of the dummies and hugs me.
Hugs
me?
Thankfully, it’s brief. She steps back and
beams. I smile back automatically, and in a second I take her in: round, rosy
face, electric-blue eyes, dark wavy hair. She’s a little older than me, maybe
twenty, and wearing stylish jeans and a really unusual shirt covered with
little embroidered seahorses.
“You’re Cara Cavendish?” I say, daring to hope
that maybe my dress won’t end up being horrendously glitzy after all.
“The one and only,” she says cheerfully. “And
you’re Ava-who-needs-a-dress. Thisbe explained. Sit, sit…” She pulls out a
little stool from under the desk and I perch on it.
Cara walks around me in a circle, eying me up
and down. “Easy-peasy,” she declares. “Dancers’ forms are so simple to dress.”
“Oh,” I say. “I’m not a dancer.”
She completes her circuit and leans on the
desk, looking curiously at me. “But you’re Beatrice Duvall’s daughter,” she
says.
The name gives me a jolt, but I manage to
reply evenly: “That doesn’t make me a dancer.”
“’Course not,” says Cara. “I mean, my mum was
an architect, and look at me! But I heard you were training to be a dancer like
your mother. With the Royal Ballet.”
“I was. I… stopped.”
“Oh. Why was that then?”
I frown at Cara. She smiles back at me.
“Did Thisbe put you up to this?” I ask.
“Up to what?”
“All the questions.”
“Oh, no. That’s just me. My brother’s always
telling me I’m blunt, because I don’t go in for all that evasive British crap –
ignoring the elephant in the room. Better to lay it all out there and say, ‘My
mum’s dead, and it sucks.’ You know?”
“Not really,” I reply honestly. I’ve never
said those words in my life.
Cara nods like I’ve said something profound.
Then, to my relief, she claps her hands and says, “Let’s talk dresses.”
After a quick-fire round of questions designed
to establish my style, Cara hands me a scrapbook in which she’s pasted
cuttings, photos and drawings of formal dresses, and she talks me through cuts,
lengths, necks, sleeves and fabrics. Somewhere around the midi dress page I
begin to come undone.
“What is it?” she says.
“Nothing,” I say.
“Something,” she says. “You look like you’re
about to have a panic attack. Is it claustrophobia? This room is a little
dinky.”
“It’s not that. It’s...”
She waits expectantly. I gesture to the
scrapbook.
“It’s just all a bit real, suddenly, looking
at these dresses. I mean, I’ve got to wear one and stand on a stage at the
Royal Opera House in front of people. Lots
of people.”
“Ah,” she says. “Yeah, I’d be a wreck doing
that. But you’ve performed on stage before, right?”
“Sure. Plenty of times. But this isn’t a
performance. I have to be myself. I mean…”
“You mean you have to be your mother’s
daughter. And your mother was the legendary Beatrice Duvall.”
Startled, I nod. She gets it. I don’t even
know this girl, but she gets it.
“So,” Cara says, plucking the scrapbook off my
lap and leafing through the pages, “what you need, besides the strength to get
on that stage, is a really kick-ass dress. A dress that makes you feel tall and
powerful and goddam beautiful, like nothing can touch you while you’re wearing
it. Ah-ha. Here. This one. What do you think?”
The dress illustration jumps right off the
page. It’s bold, it’s simple, it’s glamorous, it shouts “designer”: a strapless
bodice with criss-crossing satin ribbons and a flowing skirt with chiffon
overskirt ending just on the knee.
“Wow,” I say. “You can make that? In time?”
She grins. “Hell yeah.”
“And you think I can pull that off?”
Her grin widens. “Hell yeah.”
Disclosure: this post contains links to an affiliate program (Amazon), for which I receive a few cents if you make purchases.
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