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Content Warning: This section of the guide includes discussion of illness or death, child death, racism and religious discrimination, pregnancy loss, physical abuse, and emotional abuse.
The flying trapeze is symbol of the trust, risk, and interdependence required to survive amid the chaos of war. For Noa and Astrid, the trapeze is the physical space where their evolving bond is played out. Initially, Astrid’s declaration “[b]ecause I would never trust you to catch me” establishes the deep gulf between them (71). This statement is also a metaphor for their relationship and underscores the high stakes of their world, where a lapse in judgment is fatal. As Astrid trains Noa, she assumes the role of the “catcher,” making herself responsible for Noa’s life, while Noa must become the “flier” (71), the one who makes the ultimate leap of faith. This dynamic forces them into a relationship of absolute mutual dependence, mirroring the sacrifices they must make for each other to survive. The symbolism culminates during the circus fire when a trapped Astrid must rely on Noa’s guidance. It is Noa who, having fully learned the lesson of the trapeze, must tell her mentor, “Astrid, you have to let go” (324). This role reversal completes their arc, cementing that true courage and survival are not solitary acts but are found in the terrifying, liberating act of placing one’s life in another’s hands.
The recurring motif of lost, stolen, and rescued children underlies the themes of personal sacrifice and the formation of found families. The motif is first introduced by Noa’s own presentation as a lost child rejected by her parents and struggling to survive. This is compounded by her dual status as a grieving mother following the loss of her newborn, an experience that fuels her defining act of courage. When she discovers the boxcar of abandoned infants, her maternal grief compels her to act impulsively to save a stranger’s child. Her decision to “pick up the crying child, needing to silence it” (20) is not a calculated act of rebellion but an intimate, instinctual sacrifice that becomes a catalyst for subsequent events. Theo, a Jewish child stolen from his parents, becomes the living embodiment of this motif. His vulnerability unites Noa and Astrid, two broken women who find purpose and redemption in protecting him. By becoming his adoptive mothers, they forge a powerful, non-traditional family bond. The narrative also presents Astrid’s baby as a lost and found child, as she believes herself to have lost the pregnancy: Petra survives and becomes her “miracle” baby. This motif argues that in a world determined to destroy innocence, the most profound form of resistance is the fierce, selfless protection of a child, reframing heroism as an act of radical maternal love.
The circus community is a symbol of an alternative world of peace and harmony in a Europe torn by war and genocide. The significance of this symbol is first introduced by its patron, Herr Neuhoff, who reassures Astrid that she is safe because she is “Zirkus Volk” (33), part of a community based on a utopian ideal of inclusion and equality and which “has no borders” (107).
As Jenoff highlights in her Author’s Note, this community is based on Adolf Althoff’s circus, who said “we circus people see no difference between races or religions” (344). In the novel, this historical parallel is elevated to symbolic status, representing the hope of a peaceful pan-national future. As Astrid comments, the circus makes it “possible to imagine we are not at war” (110), signaling the possibility of a happier future. When the circus burns down in the final chapters, it is significant that it has caught fire in an Allied raid, foreshadowing the end of war and eventual peace and restitution. This choice suggests that the circus has heralded the forthcoming Allied victory, and that, on a symbolic level, once real peace is achieved, the figurative value of the circus has been played out.



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