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In this era when “no one reads”—and the high arts are considered white-elephant niche markets—it’s heartening to discover publishers that still focus on theatrical dancing. Thanks to editor Harry Haskell, since 1995 Yale University Press has issued a distinguished array of titles, including Dance Writings and Poetry (Edwin Denby), Following Balanchine (Robert Garis), and in November, the magnificent history No Fixed Points: Dance in the Twentieth Century (Nancy Reynolds and Malcolm McCormick). When Haskell left Yale in July to write a book, there was concern in the dance world that his departure signaled the end of Yale’s commitment to dance. Not so, insists Yale’s new director, John E. Donatich. In a recent e-mail, Donatich observed that the press’s London office has two editors with expertise in the performing arts and there are also several in New Haven. Haskell, currently in discussion about working for other presses, describes himself as an “interested bystander.” A Yale brochure for dance promises Tim Scholl’s volume on The Sleeping Beauty (2004); also in progress is a critical study by Laura Leivick of the reciprocal influences between ballet and literature, both acquired by Haskell. And then? Watch that space for developments.