The Orphan's Tale

Astrid is introduced as a proud and guarded protagonist, a figure of immense talent and deep-seated trauma. As a Jewish aerialist from the esteemed Circus Klemt, she once stood at the pinnacle of her profession. She then lived a life of luxury in Berlin with her husband, Erich, an SS officer. However, her life unraveled when he was forced to divorce her on the orders of the Reich, abandoning her just as her family disappeared at the hands of the Nazis. She is forced to seek refuge with the rival Circus Neuhoff and return to her circus performances.

Astrid powerfully embodies the theme The Struggle to Survive Using False Identities. To survive, she sheds her birth name, Ingrid Klemt, and adopts the persona of “Astrid Sorrell” (34), a Gentile performer. This constant performance of a false identity is essential for her physical preservation but creates profound internal conflict. The circus, a world of illusion and spectacle, serves as a fitting backdrop for her personal deception, a place where reinvention is part of the trade. Her skill on the flying trapeze, where she acts as the catcher, is symbolic of her role in the narrative; she is the one who must be strong, reliable, and trustworthy enough for others to place their lives in her hands.

Astrid is fiercely protective, an instinct which is initially directed inward but gradually extends to her new, chosen family. When Noa arrives with Theo, Astrid is resentful and suspicious, viewing the girl as a liability who threatens the delicate safety she has built. She is critical of Noa and this initial hostility stems from a place of fear; any disruption or unwanted attention could expose Astrid’s own secret and endanger the entire circus. However, as she trains Noa, a grudging respect develops, which blossoms into a deep, sisterly bond. Astrid becomes a mentor and protector to Noa and a fierce maternal figure to Theo. This transformation is central to the theme of The Strength of Found Family in the Face of Loss, as Astrid, who has lost her entire biological family, slowly builds a new one through shared hardship and mutual dependence. Her decision to trust Noa with the truth of her Jewish identity, and her later acceptance of Noa’s own secrets, solidifies their connection and moves their relationship from one of expedience to one of genuine love.

Astrid’s journey reveals her capacity for love and trust. Her relationship with Peter, the circus’s melancholy clown, is built on a shared understanding of loss. They are two broken people who find solace and strength in one another, creating a partnership that stands in stark contrast to her passionate but ultimately hollow marriage to Erich. While she maintains a hardened exterior, her actions reveal a profound loyalty and a deep-seated morality. She risks her life daily by performing in plain sight, and her quiet defiance is a testament to her resilience. In the end, Astrid’s wishes are fulfilled. Having been abandoned by her husband and orphaned by the war, she chooses to become a mother to Theo, an orphan himself. By raising him, she honors Noa’s ultimate sacrifice and finds a new purpose in maternal love. She also raises her child fathered by Peter, a baby she thought she had lost on the day the Nazis took Peter. She embraces the role of protector and mother, ensuring that the love and sacrifice that defined their found family will endure.

Peter is a key supporting character whose role as a clown reveals a deep melancholy and a defiant spirit. Born into Russian aristocracy and having lost his wife and child to illness, he carries a profound sadness that informs his entire being. This tragic past makes him a compelling counterpart to Astrid, as they are drawn to each other through a mutual understanding of loss. His love for Astrid is quiet yet fierce.

Peter is a round and largely static character; his core traits of artistic integrity and sorrow remain consistent, but they are layered with complexity. His performances are not merely for entertainment but are a form of political resistance. Through satirical routines that mock the Nazi regime, he uses his art as a weapon, embodying the theme of Personal Sacrifice as a Form of Courage. Despite Herr Neuhoff’s warnings about the danger, Peter refuses to compromise his act, stating, “If I didn’t kowtow to the czar, I’m sure as hell not going to do it now” (122). This insistence on artistic freedom in the face of totalitarianism highlights the conflict between survival and personal integrity. His eventual arrest serves as a tragic climax, demonstrating that no amount of talent or courage can provide immunity from the brutality of the regime, and that the sanctuary of the circus is ultimately permeable.

Herr Neuhoff serves as the benevolent patriarch of the circus and a central figure of moral courage. As the owner of the Circus Neuhoff, he functions as a rescuer and mentor, providing a sanctuary for those displaced by the war. He becomes a surrogate father figure to both Noa and Astrid. His character is a primary example of the theme of Personal Sacrifice as a Form of Courage. He knowingly harbors Jews, including Astrid and Metz, a handyman. He tells Astrid, “You are Zirkus Volk” (33), a statement that demonstrates his belief in a community that transcends the political and racial divisions of the outside world. He is a pragmatic man who understands the necessity of outward compliance, wearing a swastika pin “For appearances” (28) to protect his people, but his actions are consistently defiant and humane. He immediately takes in Noa and Theo, offering them a home and a chance at survival. His failing health provides an undercurrent of threat in the narrative, and his sudden death from a heart attack during Peter’s arrest marks a pivotal moment. With his passing, the circus loses its moral compass and its staunchest protector, signaling the end of the relative safety it once provided and leaving the other characters vulnerable to the encroaching dangers of the war.

Luc serves as a romantic interest for Noa and represents the possibility of a life beyond the confines of the circus. As the son of the collaborationist mayor of Thiers, he is caught between his father’s political compromises and his own conscience. His initial interactions with Noa are gentle and protective, offering her a glimpse of normalcy and affection that she has been denied. Their relationship is a source of both hope and conflict, as Astrid warns Noa against trusting an outsider, particularly one so closely connected to the local authorities. Luc’s character develops from a conflicted observer into an active participant in the resistance after he is inspired by Noa’s courage. Luc’s true nature remains somewhat ambiguous throughout the narrative until the Epilogue, when he is revealed to have been loyal and courageous. His decision to join the Maquis and his tragic death underscore the indiscriminate and far-reaching consequences of the war, extinguishing the potential for a future with Noa and reinforcing the novel’s sense of pervasive loss.

Emmet Neuhoff functions as an antagonist and a foil to his father’s compassionate leadership. He is characterized by his weakness, selfishness, and resentment toward the more talented members of the circus, particularly Astrid and Noa. Lacking both the skill to perform and the acumen to run the business, he lurks in the background, making trouble and undermining the unity of the community. After Herr Neuhoff’s death, Emmet inherits control of the circus, and his poor decisions and self-serving actions hasten its decline. He represents the internal decay that threatens the circus, a force of discord that contrasts sharply with the found family his father worked so hard to protect.