The Orphan's Tale(15)

“Train to do what, exactly?” I ask, wishing I had thought to ask the previous evening before saying I could do it.

“Learn the flying trapeze,” she answers.

I had heard them discuss this the previous evening. They used the word “aerialist,” I recall now. Through the fog of my exhaustion, I had not contemplated what it really meant. Now the outrageousness of the proposal crashes down upon me: they want me to climb to the ceiling and risk my life swinging like a monkey. I’m not captive here. I don’t have to do this. “That’s very kind of you, but I hardly think...” I don’t want to offend her. “I can’t possibly do that. I can clean, or perhaps cook,” I offer, as I had the night before.

“Herr Neuhoff owns the circus,” she informs me. “This is what he wants.” Her diction is polished, as if she is not from around here. “Of course if you can’t manage it...you have maybe a rich uncle waiting to take you in?” Though her tone is mocking, she has a point. I cannot go back to the station where surely the baby and I have both been noticed missing by now. On my own I might have kept running. But the bitter cold had nearly killed us once. We would not make it a second time.

I bite my lip. “I’ll try. Two weeks.” Two weeks will give me time to get stronger and find somewhere for Theo and me to go. We will not, of course, stay with the circus.

“We were going to give you six.” She shrugs, not seeming to care. “Let’s go.” I change into the leotard as modestly as I can beneath the gown.

“Wait.” I hesitate, looking at Theo, who still sleeps on the bed.

“Your brother,” she says, emphasizing the second word. “Theo, isn’t it?”

“Yes.”

She hesitates for a beat, watching me. Then she picks him up. I fight the urge to protest, the notion of anyone else holding him unbearable. She places him into the makeshift bassinet. “I’ve asked the housemaid, Greta, to come up and watch him.”

“He’s colicky,” I say.

“Greta has raised eight of her own. She’ll manage.”

Still I hesitate. It is more than just Theo’s care that concerns me: if the maid changes his diaper, she will learn that he is a Jew. I take in his clean outfit and realize it’s too late. Someone already knows the truth about his identity.

I follow Astrid down the stairs of the darkened house, the air musty and burnt. Then I put on my still-damp boots, which stand by the front door. She hands me my coat, and I notice that she does not wear one. Her figure is flawless, lean legs that belie her strength and a perfectly flat waist like I’d had before the baby. She is shorter than I thought the previous day. But her body is like a statue, elegant lines seemingly carved from granite.

Outside, we pad silently across the open field, our footsteps crackling against the ice. The air is dry and milder, though; had it been like this a day ago, I might have made it farther into the woods without collapsing. Moonlight shines down brightly. The night sky is filled with stars and for a second it seems that each is for one of the infants on the train. Somewhere, if they are still alive, Theo’s parents are wondering where their child has gone, hearts crying out in anguish, just as my own does. I look at the sky and send up a silent prayer, wishing they might know their son is alive.

Astrid unlocks the door to a large building. She flicks a switch and lights splutter on overhead. Inside, it is a run-down gymnasium that smells of sweat, old tumbling mats rotting in the corner. It is dingy and worn, worlds away from the glamour and sparkle I’d always associated with the circus.

“Take off your coat,” she instructs, stepping closer. Her bare arm brushes mine. My own pale skin is marred a thousand times with moles and scars, but Astrid’s is a smooth, unbroken canvas of olive, like a lake on a day without wind. She produces beige tape that she wraps around my wrists slowly and methodically, then kneels and covers my legs with chalk, taking care not to miss a single spot. Her nails are perfectly polished, but her hands are lined and coarse, unable to hide the years the way her face and body can. She must be close to forty.

Finally she pats a thick powder onto my hands. “Rosin. You must keep your hands dry always. Otherwise, you will slip. Do not assume the net will save you. If you hit too hard it will drop to the floor or you’ll be thrown off. You must land in the center of the net, not by the edge.” There is no warmth in her voice as she rattles off instructions, practiced over time, that will help to keep me from falling, or killing myself if I do. My mind reels: Does she actually think I can manage this?

She gestures that I should follow her to a ladder that stands close to one of the walls, bolted perfectly upright. “The act will have to be simplified of course,” she says, as if reminding me that I can never possibly be good enough. “It takes a lifetime of training to truly become an aerialist. There are ways to compensate so that the audience will not notice. Of course, there is no room for conjuring in the circus. The audience has to trust that all of our feats are real.”

She begins to climb the ladder with the ease of a cat, then looks down expectantly to where I stand, not moving. I scan the length of the ladder to the high ceiling. The top must be at least forty feet from the ground, with nothing below but a tired-looking net just a meter or so off the hard floor. I have never been afraid of heights, but I’ve had no cause: our house in the village was a single story and there were no mountains for hundreds of kilometers. I’ve never imagined anything like this.