Back in Montgomery during my growing up there, it was completely legally enforced racial segregation, and of course, I struggled against it for a long time. I felt that it was not right to be deprived of freedom when we were living in the Home of the Brave and Land of the Free. Of course, when I refused to stand up, on the orders of the bus driver, for a white passenger to take the seat, and I was not sitting in the front of the bus, as so many people have said, and neither was my feet hurting, as many people have said. But I made up my mind that I would not give in any longer to legally-imposed racial segregation and of course my arrest brought about the protests for more than a year.

Thank God I found sobriety. I could sustain myself with my work, my reading, the movies, my friends. And walking, walking, walking. Of all the purposes of education, I think the most useful is this: It prepares you to keep yourself entertained. It gives you a better chance of an interesting job. ... I can't remember the last time I felt bored. I can't eat, drink or talk, and yet I have so many other resources to keep myself entertained. I think I must be a case study.

Deprivation of the ability to speak is more like an attack of impotence, or the amputation of part of the personality. To a great degree, in public and private, I “was” my voice. All the rituals and etiquette of conversation, from clearing the throat in preparation for the telling of an extremely long and taxing joke to (in younger days) trying to make my proposals more persuasive as I sank the tone by a strategic octave of shame, were innate and essential to me. I have never been able to sing, but I could once recite poetry and quote prose and was sometimes even asked to do so.

One thing, it's too big a subject and I want to talk about it on paper if I talk about it at all. But I can say this much, because I thought the life that my father and mother would have had together was cut short and something of what they might have achieved I hope that I'm achieving in my work.

That’s an easy question. It was, of course, George Balanchine. He came from Russia via Europe and settled in America in 1933. He started a little company which was not very successful, so he had to start over and over again. Ultimately, he founded the New York City Ballet. I happened to be born at the right time, came to the right place, and had the fortune to audition for him, and work with him, because he is the genius of the century of ballet. I learned how to dance with him.

I think he was a great philosopher. He had a wonderful theory that you live in the “now,” which I think is important. Along with living in the moment, you also have to assume the responsibility that goes along with it, and you don’t take your position lightly. But it also means that you get the full value of the moment that you are living, so you don’t look back on your life and say, “If only I hadn’t wasted time, if only I had done this.” You do the best you can. It was wonderful to be able to go home after a performance, and think, well it wasn’t maybe so good, but it was the best I could be at that time.

By the time I admitted that I needed a hip operation, I had denied it for so long that it was a breakthrough to suddenly say, “I need this.” I knew I would probably never dance again, but I had no choice. By that time, I just wanted to be normal. I wanted to walk down the street without limping. I couldn’t tie my shoes. I couldn’t put slacks on. I was the farthest thing from a person who ever could dance and do all those extremely incredible extensions and contortions that we do.

No, never. Strangely enough, being such a tomboy, and being so—as my mother says—spoiled as a child, once I started dancing and in a way growing up, I was not the spoiled brat or the rebellious child that I was when I really had no reason to be as a child. When you work, it’s a laboratory. The dance studio, when we were working together, was the place where you experiment. I’m not intimidated by failure or making a mistake, because you learn from those situations. You don’t learn from a situation where you do something well. You enjoy it and you give yourself credit, but you don’t really learn from that. You learn from trial and error, trial and error, all the time. When you fail, maybe you failed in that particular instance, but you have discovered something else. A lot of the ballets that we went on to do were built around mistakes that we had made in the classroom. So you never throw anything out. Rebelling takes up energy. As a dancer, you don’t have that kind of energy to throw away.