The Orphan's Tale. Pam Jenoff
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of this. “I’ve left Berlin for good,” I say, firmly enough to foreclose further discussion. I run my finger over my wedding band, which I had put on once more as I’d left Berlin so as to attract less attention while traveling.
“So where will you go?” Herr Neuhoff asks. I do not answer. “You should leave Germany,” he adds gently. Leaving. It was the thing that no one talked about anymore, the door that had closed. I’d heard Mama suggest it once years earlier, before things had gotten bad. Then the idea had seemed laughable—we were Germans and our circus had been here for centuries. In hindsight it was the only option, but none of us had been wise enough to take it because no one knew how bad things would become. And now that chance was gone. “Or you could join us,” Herr Neuhoff adds.
“Join you?” The surprise in my voice borders on rude.
He nods. “Our circus. I am missing an aerialist since Angelina broke her hip.” I stare at him, disbelieving. Though the seasonal workers and even performers might transfer between circuses, one circus family working for another is unheard of—I can no more imagine myself part of the Circus Neuhoff than a leopard changing its spots. The suggestion makes sense, though—and the way he phrases it does not sound as if he is offering me charity, but rather that I would be filling a need.
Still, my spine stiffens. “I couldn’t possibly.” To stay here would mean being beholden to Herr Neuhoff, another man. After Erich, I will never do that again.
“Really, you’d be doing me a huge service.” His voice is sincere. I am more than just a spare performer. Having a Klemt join his circus, well, that would be something, at least to the older folks who remembered our act at its heyday. With my name and reputation as an aerialist, I am like a collectible, an item to be had.
“I’m a Jew,” I say. To employ me now would be a crime. Why would he take on such danger?
“I’m aware.” His mustache twitches with amusement. “You are Zirkus Volk,” he adds quietly. That transcends all else.
Still my doubts linger. “You have SS living next door now, don’t you? It will be so dangerous.”
He waves his hand, as if this is of no consequence. “We’ll change your name.” But my name is what he wants—the very thing that makes me most valuable to him. “Astrid,” he pronounces.
“Astrid,” I repeat, trying it on for size. Close to Ingrid, but not the same. And it sounds Scandinavian, vaguely exotic—perfect for the circus. “Astrid Sorrell.”
His eyebrows rise. “Wasn’t that your husband’s surname?”
For a second, I falter, surprised that he had known. Then I nod. Erich had taken everything from me but that. He would never know.
“Plus, I could use your good sense about the business,” he adds. “It’s only me and Emmet.” Herr Neuhoff had been dealt a cruel blow. In the circus, large families are the norm; ours had four brothers, each more handsome and talented than the next. But Herr Neuhoff’s wife had died birthing Emmet and he had not remarried, leaving him alone with just one shiftless heir who had neither the talent to perform nor the head to run the business. Instead, Emmet spent his time gambling in the cities on tour and ogling the dancing girls. I shudder to think what might become of this circus when his father is gone.
“So you’ll stay?” Herr Neuhoff asks. I consider the question. Our two families had not always gotten along. My coming here today had been a change. We were rivals, more so than allies—until now.
I want to say no, to get on a train and keep searching for my family. I’ve had enough of depending on others. But Herr Neuhoff’s eyes are soft; he takes no joy in the misfortune that has befallen my family and is only trying to help. I can already hear the music of the orchestra, and the ache to perform, buried so deep I’d almost forgotten, rises sharply within me. A second chance.
“All right then,” I say finally. I cannot refuse him—and I have nowhere else to go. “We’ll try it. Perhaps on the road, we might hear word of where my family has gone.” He presses his lips together, not wanting to give me false hope.
“You can stay at the house,” he offers. He does not expect me to live in the women’s lodge like a common performer. “It would be good to have the company.”
But I cannot stay up here and hope to have the girls accept me as one of them. “That’s very kind, but I should stay with the others.” As a child, I had always felt more comfortable down in the cabins with the performers. I had yearned to sleep in the women’s quarters, which, despite the too many bodies, smells and noises, had a kind of solidarity.
He nods, acquiescing to the truth in my words. “We’ll pay you thirty a week.” In our circus, money had not been discussed. Wages were paid fairly, with increases over the years. He pulls a paper from the desk drawer and scribbles on it. “Your contract,” he explains. I look at him, confused. With us there had been no contracts—people made verbal agreements and kept them over decades of working together. He continues, “It just says that if you want to leave before the season is over, you will pay us back.” I feel owned in a way I never have before and I hate it.
“Come, I’ll help you get settled.” He leads me out of the house and down the hill in the direction of the cabins. I keep my eyes straight forward, not looking back in the direction of my former home. We near an old gymnasium and my throat tightens. Once my family had practiced here. “They weren’t using it anymore,” he offers, his voice apologetic. But it had been ours. In that moment, I regret the bargain I have made. Working for another circus family feels like treason.
Herr Neuhoff continues on, but I stop in front of the gymnasium door. “I should practice,” I say.
“There’s no need to start today. Surely you will want to get settled.”
“I should practice,” I repeat. If I don’t start now, I never will.
He nods. “Very well. I’ll leave you to it.” As he starts away, I look up from the base of the hill across the valley toward my family home. How can I stay here, so unbearably close to the shadows of the past? I see my brothers’ faces. I will perform where they cannot.
The door to the gymnasium creaks as I pull it open. I set down my valise, twisting my wedding band around my finger. There are a few other performers scattered through the practice hall. Some faces are vaguely familiar, as if from another lifetime; others I do not know at all. At the back of the practice hall by the piano, there is a tall man with a long somber face. Our eyes meet and though I do not recognize him from my circus years, it seems we have met somewhere before. He holds my gaze for several seconds before finally turning away.
I inhale the familiar smell of hay and manure and cigarette smoke and perfume, not so very different. The thick rosin coats the insides of my nostrils and it is as if I had never left.
I take off the wedding band and put it in my pocket, then go to change for rehearsal.
Of course I did not leave him.
I started away from the child, imagining my life just as it had been a few short minutes earlier. The milk truck would go and I could return to my work and pretend none of it ever happened. Then I stopped again. I couldn’t abandon a helpless infant and leave him alone there to die, just as surely as he would have on the train. Quickly I raced to the sour-smelling milk can and pulled him out. A moment later, the engine roared and the truck lurched forward. I clutched the child tighter and he nestled against me forgivingly. His warmth filled my arms. In that second, everything was all right.
The policeman near the train yelled something I couldn’t make out. A second guard appeared on the station platform, holding a snarling Alsatian on a leash. In my panic, I jumped, and the child nearly slipped from my arms. Tightening my hold on