#Macmillan company

[uwmspeccoll]

Publishers' Binding Thursday

I found this week's Publishers' Binding Thursday selection while simply browsing the stacks. I noticed the spine first, and when I pulled the book out saw the three, bright, galloping horses on the cover. The book is The Boy Apprenticed to an Enchanter by Irish poet, author and folklore collector Padraic Colum (1881-1972). It was published by the Macmillan Company in 1920 with illustrations by American illustrator Dugald Stewart Walker (1883-1937). This book is part of our Historical Curriculum Collection of children's books.

The cover is a cream bookcloth with blue, yellow, and black color stamping. A white horse, a yellow horse, and a black horse rear up as a cloud of dust rises behind them on a blue background. The title is in a cream banner at the top and is stamped in yellow with a black outline. The title, author's name, and illustrator's name are stamped on the spine, with the publisher stamped at the bottom.

View more Publishers' Binding Thursday posts.

-- Alice, Special Collections Department Manager

[archivist-dragonfly]

Book 203

Great Prints of the World

Gabor Peterdi

Macmillan Company 1969

This is one of those books that I don’t understand why I have it until I open it up. The image reproductions are simply superb. With examples from most every significant printmaker from Antonio Pollaiuolo (1429-98) through Picasso, it’s a wonderful overview. The only real problem with it is that it’s almost entirely in black-and-white.

[unrighteousbooks]

There really are quite a lot of these little Tudor Shakespeare volumes floating around, aren't there? Every time I believe that I've corralled them all, another stack pops up.

[holmesoldfellow]

1940 Studies in Sherlock Holmes plaque

[elliot-amy]

The Trapper Nendoroid by Good Smile Company

[retrocgads]

UK 1985

[persona5soundtrack]

If I've learned anything from researching how e-books really fucked shit up between libraries and publishers, it's that MacMillan sucks the most and can gargle my dick and balls

[lepetitdragonvert]

A Treasury of Verse for Little Children

selected by M. G. Edgar

The MacMillan Company

New York

1908

Artist : Willy Pogany

The Owl and the Pussy-Cat

[sad-boys-book-club]

"&" Ampersand - A Literary Companion

Selected stories with the themes of Bastille's upcoming project "&" Ampersand. And, of course, a love letter to my favourite band.

PART 1

Intros & Narrators: Wallace, David Foster. Oblivion: Stories. Little, Brown and Company, 2004./ Nancherla, Aparna. Unreliable Narrator: Me, Myself, and Impostor Syndrome. Penguin Publishing Group, 2023.// Eve & Paradise Lost: Bohannon, Cat. Eve: How the Female Body Drove 200 Million Years of Human Evolution. Knopf Doubleday Publishing Group, 2023. / Milton, John. Paradise Lost. Alma Classics, 2019.// Emily & Her Penthouse In The Sky: Dickinson, Emily. Emily Dickinson’s Poems: As She Preserved Them. Harvard University Press, 2016. /Dickinson, Emily. Emily Dickinson: Letters. Edited by Emily Fragos, Knopf Doubleday Publishing Group, 2011.// Blue Sky & The Painter: Prideaux, Sue. Edvard Munch: Behind the Scream. Yale University Press, 2019. / Knausgaard, Karl Ove. So Much Longing in So Little Space: The Art of Edvard Munch. Random House, 2019.//

PART 2

Leonard & Marianne: Hesthamar, Kari. So Long, Marianne: A Love Story - Includes Rare Material by Leonard Cohen. Ecw Press, 2014./ Cohen, Leonard. Book of Longing. Penguin Books Limited, 2007.// Marie & Polonium: Curie, Eve. Madame Curie. Knopf Doubleday Publishing Group, 2013./Sobel, Dava. The Elements of Marie Curie: How the Glow of Radium Lit a Path for Women in Science. Atlantic Monthly Press, 2024.// Red Wine & Wilde: Wilde, Oscar, et al. De Profundis. Harry N. Abrams, 1998./ Sturgis, Matthew. Oscar: A Life. Head of Zeus, 2018.// Seasons & Narcissus: Ovid. Metamorphoses: A New Verse Translation. Penguin, 2004./ Morales, Helen. Antigone Rising: The Subversive Power of the Ancient Myths. PublicAffairs, 2020.//

PART 3

Drawbridge & The Baroness: Rothschild, Hannah. The Baroness: The Search for Nica, the Rebellious Rothschild. Knopf Doubleday Publishing Group, 2013./ Katz, Judy H. White Awareness: Handbook for Anti-racism Training. University of Oklahoma Press, 1978.// The Soprano & Her Midnight Wonderings: Ardoin, John, and Gerald Fitzgerald. Callas: The Art and the Life. Holt, Rinehart and Winston, 1974./ Abramovic, Marina. 7 Deaths of Maria Callas. Damiani, 2020.// Essie & Paul: Ransby, Barbara. Eslanda: The Large and Unconventional Life of Mrs. Paul Robeson. Haymarket Books, 2022./ Robeson, Paul. Here I Stand. Beacon Press, 1998.//

PART 4

Mademoiselle & The Nunnery Blaze: Gautier, Theophile. Mademoiselle de Maupin. Penguin Classics, n.d./ Gardiner, Kelly. Goddess. HarperCollins, 2014.// Zheng Yi Sao & Questions For Her: Chang-Eppig, Rita. Deep as the Sky, Red as the Sea. Bloomsbury Publishing, 2023./ Borges, Jorge Luis. A Universal History of Infamy. Penguin Books, 1975. // Telegraph Road 1977 & 2024: Kaufman, Bob. Golden Sardine. City Lights Books, 1976./ Wolfe, Tom. The Electric Kool-Aid Acid Test. Pan Macmillan Australia Pty, Limited, 2008.

Original artwork created by Theo Hersey & Dan Smith. Printed letterpress at The Typography Workshop, South London.

[elumish]

My Experience With Digital-First Royalty-Only Publishing (Part 1)

Disclaimer: this is just my experience and my not reflect everyone's experience with this story of publishing.

The Concept:

The are two major distinct components of this sort of publishing: that it's digital first and royalty only. Digital first means that their primary business model is based in selling ebooks rather than physical boks. They don't sell in brick-and-mortar stores, but for my publisher, at least, you can buy physical copies of the books, which are made to order. Royalty only means that authors aren't paid an advance for the book. Instead, all of their payment is directly from royalties, which they start getting paid immediately (as opposed to needing to earn the advance before you get paid any royalties). Generally, these royalties are higher than for traditional publishers.

This is considered indie publishing, as opposed to traditional publishing through one of the Big Five (Penguin Random House, Hachette, HarperCollins, Simon & Schuster, Macmillan). I have basically only seen this for romance publishers, though there may be others that I haven't seen.

This is not vanity publishing--I don't pay my publisher, they pay me.

My Publishing Story:

In 2023, I wrote 10k words of a new story in three days, mostly on my phone. After a bit of random internet hunting, I decided to send it in to the publisher with a series plan for another three short pieces (10-15k words) that would together make one full story. A couple months later, they responded and asked if I would make it a full novel and also write another two in the same series. I agreed.

In April 2024, the book was released.

The Submission Process:

A number of digital first romance publishers (including those that give advances, like Harlequin) accept both agented and unagented submissions. That means that you don't need to already have an agent to submit to them, as opposed to most more traditional publishing companies, which only accept agented submissions.

Pro: lower barrier to entry, you get to avoid the querying process

Con: you have to advocate for yourself

Every publisher has a different submission process and different guidelines--some have broad word/topic guidelines and anything within that is fair game, some have specific calls for stories (e.g., we want stories of 30-80k words about billionaires), some have specific imprints or subgenres with different guidelines (e.g., historical romance for 50-80k words, fantasy romance for 60-100k words).

Generally they also request a summary, an equivalent of a query letter, and sometimes also some verion of a series plan.

The Contract:

Probably my biggest issue with working with this publisher was the contract. After a bunch of back and forth after they sent me the contract, they told me that they don't negotiate their contracts with unagented authors.

This is a sort of nuts line to draw, and to be totally honest I almost decided not to publish with them because of it. It would be totally reasonable for you to not publish with anyone who has that policy.

Ultimately, I decided to still publish with them for three reasons: 1) I did a lot of internet sleuthing and couldn't find anyone talking about issues with working with the publisher any time in the last decade, 2) I was comfortable enough with the contract terms to agree to them, and 3) the book is a niche enough subgenre that there's basically no chance I would get it published elsewhere.

If it was a different book or I was in a different stage in my career, I might have made a different decision.

Editing:

The editing I received was primarily copyediting rather than developmental editing. There was a little bit of developmental editing, but the vast majority was copyediting. I'm not so arrogant as to think that that's because my writing is just so perfect that it didn't need developmental editing.

There were ~3 rounds of editing that I went through with my editor. She would make a combination of edits in track changes and comments, and i would either accept, reject, or change. There were some things I rejected because they were intentional stylistic choices, and there were some things I accepted even if I didn't love them because they were part of the publisher's style guide. Everything else was a negotiation.

Overall, I didn't give in to something that I hated, and I don't think my writing suffered for the editing. There are choices that I wouldn't have made, but that doesn't necessarily mean that I'm right.

Part 2 will include marketing, payment, and my path forward in publishing

[uwmspeccoll]

Wood Engraving Wednesday

CLARE LEIGHTON

We return once again to one of our favorite 20th-century wood engravers, the English/American artist, writer, and illustrator Clare Leighton (1898-1989), this time with engraved illustrations for Thomas Hardy’s novel Under the Greenwood Tree, printed by R. & R. Clark in Edinburgh and published in New York (and simultaneously in London) by the Macmillan Company in 1940. The text is from Hardy’s second novel originally published in 1872, and this edition was published to commemorate Hardy’s birth in 1840, for which Clare Leighton produced more than 60 engravings. Of Leighton’s work, the dust jacket notes declare:

Miss Leighton has won a place among England's outstanding artists: “a rural Rembrandt” is the title given her by Ernest Rhys, who, in the Observer, stresses “her uncanny mastery of light and shade.” Henry Seidel Canby, writing in The Saturday Evening Review of Literature, has remarked on “the great pictorial beauty of her extraordinarily strong and dramatic engravings.” She has been called “one of the finest of contemporary wood engravers.” 

Both as artist and as one who knows intimately the country of Thomas Hardy’s novels, Miss Leighton has made this illustrated edition one which should appeal equally to art lovers and lovers of Hardy’s work.

The blurb isn’t wrong.

View more posts with work by Clare Leighton.

View more posts with work by women wood engravers.

View more Women’s History Month posts.

View more posts with wood engravings!

[flowerishness]

Pachystachys lutea (golden shrimp plant, Peruvian shrimp plant) and Justicia brandegeeana (Mexican shrimp plant)

On Saturday, I made my annual pilgrimage to the Bloedel Conservatory. This building is, in effect, a giant greenhouse full of exotic plants. These shrimp plants grow in the shady tropical rain forests of central and South America. They would never survive the winter in Vancouver.

The Bloedel Conservatory was opened in 1969 and it's avant-garde ''Triodetic dome' structure was inspired by Buckminster Fuller’s iconic Expo ’67 dome in Montreal. The building itself was constructed with funds provided by the (now extinct) timber company, MacMillan Bloedel. By 2009, the building was falling apart and needed a new roof. The Park's board was facing a deficit that year and decided to tear it down. A grassroots petition started a process which eventually saved this beautiful 1960's building. If you're ever in Vancouver, the Bloedel Conservatory is a must-see for plant lovers and architects alike.

[detroitlib]

From our stacks: Illustration for "Sea Fever" from Rainbow Gold. Poems Old and New Selected for Boys and Girls By Sara Teasdale With Illustrations By Dugald Walker. New York: The Macmillan Company, 1927.

[historicalbookimages]

🐔 The book of poultry New York, The Macmillan Company, 1921. My, what elegant chickens you have Mr. McGrew. .exhibit A: The Red-Breasted Game #bhlpod #chickens

[romione-trope-fest]

Capture My Heart

Title: Capture My Heart

Author: adenei

Trope: Muggle AU

Brief Summary: Work meets play at a work picnic/team bonding event. Hermione gets a little more than she bargained for when a certain redhead is held captive during a healthy team bonding game of Capture the Flag.

WC: 2,541

TW: n/a unless you count excessive forearm mentions

*************

What am I, twelve?

  Hermione paces back and forth in front of the currently unoccupied ‘jail cell.’ Really, it’s a piece of rope tied around a few trees just off the beaten path of the trail that is her team’s home base. Swiping through her phone, she’d rather be anywhere else than playing this stupid game at the stupid company picnic. 

  Don’t they realize she still has a ton of work to get done? Cases never end for a public defender, especially not when certain detectives seem to be a little too good at their job, putting deadbeats who can’t afford their own lawyer behind bars.

It’s not his fault. She should be grateful that there’s someone who actually does their job and takes it seriously, but her workload is screaming otherwise. And since her department refuses to hire an additional person, Hermione will continue to aim all of her resentment at him.

  Now, if only the other side would just capture her team’s flag so they can be done with this God forsaken children’s game. Then she can get back to the office. Yeah, that’d be great.

  Bored out of her mind, Hermione goes back to scrolling the newest set of case files that were emailed to her that morning. It’s the only thing she can do considering she was given the most boring position on her team. Like a group of lawyers and paralegals are going to catch and apprehend a bunch of detectives. And even if they did, what was she going to do? Hold them in contempt? Honestly.

  A rustling from nearby catches her attention, and she locks her phone before shoving it into the back pocket of her jeans. At least the fall weather and smattering of dead leaves on the ground prevents anyone from sneaking around too stealthily. 

  “Oi, Hermione, where are you?” Ernie MacMillan, her desk partner, calls from down the path.

  She rolls her eyes, though no one can see her. “Right here, where you left me, remember? To guard an unoccupied makeshift jail cell.”

  “Hey, not my fault McGonagall forced you to participate. And lucky for you, it won’t be unoccupied anymore.”

  “Yeah, right.” She scoffs. “Like any of you caught one of those egotistical prats.”

  “Hey, I take offense to that!” The second voice makes her freeze, a shiver running up her spine.

  Of all the people, does it have to be him?

  Hermione might not just be resentful of that one particular detective for keeping her overworked. It might also have something to do with the fact that he is extremely attractive, charismatic, and all around swoonworthy. And she’s not the only one who thinks that. He’s also way out of her league given all the single straight women in the county building have a crush on him. 

  And who wouldn’t? With messy waves of striking auburn hair that’s faded on the sides, piercing ice blue eyes that can spot the assailant in any situation, and a lopsided smile that’s not only welcoming but inherently trusting, it’s hard not to be attracted to him. But that’s nothing to Hermione. Sure, he’s easy on the eyes, but it’s his intelligence that turns her on—that and the infuriating way he always rolls his dress shirts up to his elbows, showing off his perfectly sculpted forearms any time he books a criminal. 

  If he ever is single, she assumes it’s never for long. There’s probably a line of women waiting to date him. Not that she’d know or anything. She refuses to delve that deep into his personal life—if for the sole fact it’ll kill the tiny shred of hope she has for something as minimal as getting a drink with him sometime.

  Screw getting a drink with him. You’re about to be left alone in the woods with nothing to do. Take advantage of the situation!

  Oh my god, no. Get it together, Hermione.

  Right. Even as images of potential scenarios flow through her mind, she shakes them out of her head. The last thing she needs is for Ron Weasley to see her drooling over him. Especially since he and Ernie are fast approaching.

  “Well, it certainly wasn’t meant as a compliment,” she retorts, unwilling to let him get under her skin.

  Before the detective can speak again, Ernie cuts in. “Yeah, well, try not to insult him too much. Even holding one hostage increases our chances to win.”

  “I thought jailbreaks were against the rules?” Hermione asks. Not that she cares. She’ll willingly let him go in five minutes just to have her peace and quiet again—if only to daydream about him behind his back.

  Ernie makes a big show of shoving Ron into the makeshift jail cell then looks back at Hermione. “They are. So make sure he stays there.”

  “Or what?” Hermione crosses her arms. “You’ll make me buy coffee for the floor Monday? Sorry, I can’t. I have a full day in court.”

  “Again?” Ernie groans.

  “Yes, which is the reason I’d prefer to be back at the office and not in the woods for a silly picnic to begin with.”

  Ernie grimaces and attempts to placate her, even though they both know it means little to nothing in their field of work. “At least there’s overtime?”

  “I suppose. Though it’d be nice to have a weekend to myself once in a while.” Then Hermione turns to the captor and grumbles. “All thanks to you.” 

  “On that note, I’m going to get back to the rest of the team.” Ernie backs away a few steps, then takes off at a jog.

  Hermione side-eyes the bane of her existence—pointedly as she leans against a tree. Ron holds up his hands in defense. “Hey, don’t blame me for doing my job. You’d think crime rates would start to go down eventually.”

  “Please, Ron,” she chides. “You of all people should know that crime is always going to exist.”

  He saunters—fucking saunters—over to her and props himself against another tree, once again showing off his forearms. Of course he’s still managed to highlight them despite dressing casually with jeans, a heather gray t-shirt, and a dark blue flannel unbuttoned over it. It’s in striking contrast to her jade sweater, jeans, beige peacoat, and brown leather boots.

  Ron looks at her through his light blonde lashes. “So what do you suggest, Hermione? That I not do my job? Turn a blind eye to evidence in an investigation or stop asking key questions during interrogations?” 

  His gaze never falters, and she can’t help but feel like it’s piercing through her, like he’s trying to solve the mystery that she is to him. It’s uncomfortable in all the right ways, sending jolts of energy through her and making her forget where she is and what she’s doing. In all honesty, it’s making her want to jump his bones.

  Which would be completely unprofessional.

  Ugh. This is why she tries to avoid work functions outside the office. It’s much easier to avoid her attraction in that environment. But here, in the woods with the sun shining through the trees and the foliage creating a warm ambience, it’s hard not to let her imagination run wild. It’d be too easy to let herself believe he’s eyeing her with the same want she’s been harboring for over a year.

  “Don’t be ridiculous,” she forces herself to say. “Just, I don’t know, try a little harder to suggest other lawyers. I’m only one person, and I can only do so much.”

  Ron twists his mouth and cocks his head as he thinks about her suggestion. “I guess I could, but then what excuse would I have to come see you if I’m not delivering cases?”

  His playful demeanor hosts an undertone of seriousness that causes Hermione’s breath to hitch. This time, she’s the one to search his eyes for a deeper meaning, but she’s absolutely terrible at reading people. That’s why she took the public defender position—it was meant to be a stepping stone while she strengthened her abilities to read a jury. Then, she’d be able to go after the job she really wanted. One that would help her do some good in the world. 

  Giving up, she decides to just ask him outright. “Why would you think you need an excuse?”

  “Because detectives don’t usually hang around with attorneys.”

  “Probably because all they do is pile on more work for us.”

  If ‘they’ means Ron and ‘us’ means her, then yes, that would be true.

  “So, you’re saying I could drop in to say hi whenever I feel like it?” Ron raises an eyebrow to accompany his question.

  “If you want, but then people might think we’re friends…”

  He pushes himself off the tree and steps toward the rope separating himself from her. The motion sends an uninvited thrill through her. “Aren’t we?”

  “I figured we were closer to work acquaintances.” 

  She shrugs, attempting to keep things light and breezy while her body is on fire, desperate for her to open herself up to something more. But she won’t. Not yet. Especially when she’s wary of his intentions. After all, the rest of his team is vying for their stupid flag that’s somewhere on the grounds of the park. 

  His hand claps his chest, and he makes a show of stumbling to his knees. “Oh, you wound me, Hermione.”

  “Please, stop being so dramatic.” She lets out an unbecoming snort through her laughter. He grins at her and she rolls her eyes. “This better not be some ploy to distract me in an attempt to get the flag.”

  Ron stands back up and places his hands on his hips, once again flexing his forearms. God, she hates it so much. “Come on, Hermione. If I cared about the game, I wouldn’t have let myself get captured.”

  She bursts into more laughter. “Yeah, right. There’s no way you got captured on purpose. That’s even more suspicious.”

  “Why?” 

  “Because all I’ve listened to this week is how ‘we have to take down Weasley.’ How you’ve ‘single-handedly won the game for the last three years.’ Who’s to say you’re not distracting me just to get closer to your goal?”

  “Maybe my goal isn’t the flag this time.” There’s something about the way he says it that wipes the smile right off her face. 

  “W-what?” she squeaks.

  “Maybe I got captured under the guise of sacrificing myself for a teammate to get closer to the flag when really, I just wanted to spend time with you outside the office.”

  Despite the fact that her heart is positively pounding in her chest, she keeps up her front with an eye roll. “Why?”

  “Because I like you.”

  The words hang between them as she blinks blankly at him. “I—you—” She swallows hard. “You do?”

  Tentatively, he lifts the rope and steps underneath it. The tips of his ears are pink, something she’s noticed every once in a while but never thought anything of it.

  “Uh, yeah. Thought it was obvious.”

  Oh my god, is this actually happening?

  For a moment, she’s completely enraptured by the way he inches closer in an almost tentative matter. But then her mind chooses logic and once again blares the warning signs that this is a game.

  “Not as obvious as ‘no jailbreaks,’” she reminds him.

  He stops and she inwardly kicks herself for ruining the moment—if there’s even a moment to be ruined. But then he grins at her and takes another step forward. “Yeah, well, maybe it’s a risk I’m willing to take.”

  She can hardly believe it. Hope rushes over her again, and it’s all she can do to try and keep it contained. The last thing she needs is for him to see how completely enamored she is with him. Even still, a little giggle escapes her throat as she volleys a quip. “That’s rather bold, don’t you think?”

  “Maybe. But hopefully it’s worth it.” 

  “Why?” She quirks an eyebrow at him, the unknown meaning behind his words suddenly sobering her.

  A million possibilities flood her mind until he offers a sheepish grin and elaborates. “Because maybe I’ve forfeited the game for personal reasons.

  “Personal reasons?” she repeats. 

  “That center around asking you out.” 

  Asking me—holy shit.

  He waits for a beat as Hermione stares, slack-jawed, at him. Then, he adds, “So, uh, any time you want to put me out of my misery and let me know if it was a wise choice would be great.”

  He’s serious. He’s actually serious. Ron Weasley came here with the intention of asking her out. He could have any girl he wanted, yet he’s here, alone with her, detailing his plans of asking her out.

  She wants to savor every moment. Taking her time, Hermione steps closer to him, memorizing the hope in his eyes, the worry on his browline, the way his cheeks are completely red like he’s embarrassed. Then, a smirk forms on her lips. “That depends.”

  “On what?”

  “You technically haven’t asked me anything yet.”

  “Oh. Oh. Well, uh, would you want to grab dinner or something?”

  “Hmm, I don’t know.” Hermione taps her chin. “I’ve got quite the case load right now. I really shouldn’t. Next week is going to be brutal. There’s no possible way I could give up part of my weekend. Unless…well, I suppose I could be persuaded.”

  Even though she’s messing with him, she still finds herself succumbing to his gravitational pull. Because despite it all, the last thing she wants to convey is the possibility that she might say no. Of course, she’d have to question his detective skills if he could ever believe that.

  Thankfully, she doesn’t have to. She’s not quite sure where the brazenness comes from, but she doesn’t resist the pull urging her even closer. Her hand reaches up, sliding the soft fabric of his flannel between her fingers, which invites him into her personal space, and he grasps her hips. 

  For a moment, she forgets that there’s even a game going on, and that they’re at a work function—one she’d very much like to leave right now if at all possible. But first, there’s another thing she’d prefer. And luckily, he doesn’t make her wait.

  His voice is suddenly husky, filled with lust as his eyes flit down to her lips. “I think that can be arranged.”

  She tilts her head up as he leans down. Their first kiss is gentle, tentative, as if he doesn’t believe she’s given him permission. But from the moment their lips meet, the fire within her reignites, and Hermione wants more. Hungrily, she reaches up, fingers combing through his hair, urging even closer and deepens the kiss.

  Ron moans, squeezing her hips as he backs her into the nearest tree, and if she’s not careful, she might just let him do whatever he wants to her right then and there.

  That thought seems to snap her back to her senses, and she breaks away, her eyes taking a moment to catch up to her mind. Though heavy, she forces her eyelids open and meets his gaze. “So, dinner?”

  Ron nods. “Don’t think they’ll miss us if we leave early, do you?”

  “Not a chance.”

[dance-world]

Harris Bell - The Royal Ballet - photo by Kosmas Pavlos

Scottish dancer Harris Bell is a First Artist of The Royal Ballet. He joined The Royal Ballet’s Aud Jebsen Young Dancers Programme from the start of the 2018/19 Season and was promoted to Artist in 2019 and First Artist in 2023.

Growing up in Dollar, Scotland, he started ballet at the age of seven and went on to train at Elmhurst Ballet School and The Royal Ballet School, graduating through the school. Awards included Most Promising Boy 2013 at Elmhurst Ballet School and third place in the Lynn Seymour Award for Expressive Dance 2016 while at The Royal Ballet School. 

Roles in the School’s annual matinees included Didy Veldman’s See Blue Through, Frederick Ashton's The Two Pigeons, Robert Binet's Self and Soul pas de deux, Liam Scarlett's Third Movement and Aurora's Wedding in Anthony Dowell's adaptation of The Sleeping Beauty. 

He represented The Royal Ballet School at the Gala Des Ecoles 2017 performing the 2nd Movement from Kenneth MacMillan's Concerto at the Palais Garnier, Paris. He performed with the Company as a student in Christopher Wheeldon's Alice's Adventures in Wonderland and The Winter's Tale, Kenneth MacMillan's Manon, Frederick Ashton's Sylvia and Liam Scarlett's Swan Lake. 

His repertory with the Company includes Spanish dance (Swan Lake, The Nutcracker), Matvei (A Month in the Country) and roles in Like Water for Chocolate). He created a role in Untitled, 2023.