49 pages • 1 hour read
Merrick keeps Lilly locked in his sleeper car for three days. When it’s time for Lilly’s first performance, she meets the other sideshow performers: Dina the “Living Half Girl,” “The Monkey Girl” named Hester, and Ruby and Rosie, the “Siamese Twins.” Glory explains to her that many of the acts are gaffs, or trickery achieved through makeup; however, even though they aren’t real, Lilly should pretend they are. Lilly’s act will be “Lilly the Ice Princess From Another Planet.” Her stage and princess costume are shades of white and gray, with pearls, crystals, white cotton, and stars adorning her small booth.
In the row of sideshow stalls, she feels far from Blackwood Manor and her attic, and as much as she longed to see the outside world, “in all her fantasies of escape and imagined journeys, she never pictured herself ending up like this—a freak in a circus sideshow” (108). The sideshow act takes place an hour before the show at the big top tent. Lilly is scared to find out how the townspeople, whom the performers call “townies” or “rubes,” will react to her: “Would they recoil in fear? Would they cry? Would they laugh? Would they be sick? Would they jump onstage and try to hurt her?” (111). As she thinks about escaping, she remembers Leon’s daughter, whose throat was slit, and Merrick’s claims that no one would want Lilly no matter where she went.
As the townies enter, some of them gasp and laugh at her. A group of rowdy teenagers enter the tent and mock her, and one boy jumps onto her stage and starts pulling her hair. When Glory comes to help, the teenagers taunt them and throw mud and dog feces at Lilly. She runs out of the tent, but at the entrance, Merrick grabs her by the hair and leads her to the big top. Lilly is humiliated as the circus performers, including the young boy with the baby elephant, witness her in this state.
After Julia reviews the bank statements, she decides that she has plenty of money to keep the farm running, employ Claude and Fletcher, and renovate Blackwood Manor. The old house creaks and groans, and with every sound, she worries about a rat infestation in the walls. Fletcher introduces her to their prize mare, Bonnie Blue, who is expecting a new foal. Julia is overwhelmed but excited about the prospect of running the farm, but she knows she must get her affairs in order first.
She begins in her father’s study, remembering how he often isolated himself there: “How many times had she tiptoed down this hallway as a child after one of Mother’s tirades, hoping her father would let her into his den? How many times had she heard him, throwing things and crying behind the double doors? How many times had she wanted to ask what tormented him?” (121). In the study, among his whiskey decanters and business portfolios, she finds a framed picture from her sophomore year, though her mother refused to allow photographs in the home. The bottom drawer of his desk is locked, and she cannot find the key.
Glory helps Lilly get cleaned up after the sideshow incident, assuring her that townies don’t usually act that way. Glory apologizes for not protecting Lilly and tells her how much she cares about her; when the two embrace, Lilly thinks, “So this is what it felt like to be hugged by another person. And maybe, just maybe, this was what it felt like to be loved” (126). In an attempt to scare her into not running away, Merrick takes Lilly to Danvers State Hospital to show her where she might end up if she doesn’t obey him. Merrick brought Glory’s brother, Viktor, to the circus after taking him from such a place.
Soon, Merrick lets Lilly roam around alone at night. She is determined to see the animal tents, which they call the menagerie, because she feels a strong connection to the animals. In the menagerie, she sees lions, bears, camels, llamas, zebras, giraffes, and horses. She is drawn to the elephants but feels sorry for them too, remembering her own “walled-in feeling of being locked in her room [and] the heavy, horrible ache of missing home” (133). In the elephant stalls, she meets Cole, the kind young boy she had seen before; he introduces her to the baby elephant JoJo and her mother, Pepper, as well as the other elephants. Cole remarks on how much they like Lilly immediately and invites her to visit anytime he’s there. Lilly is happy for the first time since arriving at the circus.
Julia is determined to figure out the root of the rat infestation and believes it must be coming from under the roof. She goes to the third floor of Blackwood Manor, a place she’s never been allowed to explore, and tries to find the stairs to the attic. She gets as far as a small room with a tapestry (that is hiding a secret door) but is interrupted by Claude, who tells her that Bonnie Blue’s foal is coming too soon and the mare is in trouble. They call Fletcher and run to the barn, where Julia comforts Blue while Fletcher and Claude help to deliver the filly, which Julia names Samantha Blue.
Lilly’s story jumps ahead six years. Fifteen-year-old Lilly has her own tent and show, “The Albino Medium.” She is still close with Glory but worries about her because of Merrick’s abuse. Lilly is one of Merrick’s highest-attended acts, but he does not pay her and frequently reminds her that he is her boss and legal guardian. Each night, rubes line up and give Alana the name of the deceased loved one they hope to hear from. Alana shares the name with Lilly, who then pretends to convene with the dead while another performer makes noises behind the scene. Lilly feels horribly guilty about her medium act—her customers are spending hard-earned money only to be tricked. She tries to numb herself to the difficult feelings but instead feels “like one of the lions or elephants, a caged animal being forced to perform” (149).
One night, a man enters the tent acting strangely. Lilly soon realizes that it’s her father. He apologizes and tells her that he didn’t know that Lilly’s mother was going to sell Lilly to the circus. However, he hasn’t looked for Lilly until now because he knew her mother wouldn’t allow her back in the house. Lilly sends him away, angry and hurt that it took him six years to find her. She cancels the show for the rest of the night, even though she knows that Merrick will punish her for it. Later, he comes into her sleeper car and whips her with a riding crop until Viktor and Glory come to her rescue. Cole spreads salve over Lilly’s wounds, telling her that he will come up with a plan to keep her away from Merrick.
Julia wakes up to an ice storm. Worried about Bonnie Blue and her filly in the cold, she ventures into her parents’ bedroom to find warmer clothes to wear outside. As Julia goes through her father’s armoire, she discovers an old newspaper and a leather-bound notebook. Inside, she finds a diary entry that reads, “We have buried our firstborn. May she rest in peace. God speed her soul to heaven. And may God help us for what we have done” (164). Julia is reeling from the news that her parents had another child and wonders what other secrets and lies Blackwood Manor holds.
As Julia becomes more invested in Blackwood Manor and decides that she will keep the farm running, she learns that her family has mysteries. Living in the house brings back memories of her isolated and unloving upbringing, causing her to feel “now more than ever […] truly alone” (63); her mother’s constant disappointment led her to believe she had been “born into the wrong family” (64). However, now, she can see these memories from an adult vantage point, no longer solely focusing on how she felt as a child but also on why her parents were the flawed people she knew. These chapters deepen the theme of Family Secrets and Their Impact on Identity as Julia recalls the nights her father spent locked in his study and wonders why he did so. A secondary subplot also touches on this theme and connects Julia and Lilly. Lilly’s act in the circus relies on customers’ desire to interact with dead loved ones—at least in part to answer the same kinds of questions that Lilly and Julia have for their parents. The lie that Lilly is a medium adds to the novel’s exploration of the different kinds of deception that play on family relationships.
Julia’s and Lilly’s narratives feature another important similarity: Both have innate strong connections to animals. As Julia learns about the business operations of the farm, she re-establishes the significance of animals in her life. Her experiences with the horses offer the profound opportunity to connect with animals for the first time since childhood: “[I]t seemed as though she could feel its strength, radiating like the warmth of the sun into her skin. It was like nothing she had ever felt before” (95). Lilly also experiences a remarkable bond with the animals in the circus menagerie. Cole points out that the elephants under his care take an immediate liking to her; Lilly feels the same way toward them. Both Julia and Lilly find emotional resonance with the animals they interact with; Julia glories in the horses’ strength, a quality she is drawing on to become the farm’s manager, while Lilly sees kinship in the elephants’ caged condition.
Interestingly, for both young women, the animals are the first example of a strong mother-child bond—seeing Pepper and Bonnie Blue physically protect and nurture their offspring shows Lilly and Julia what their childhoods lacked. In contrast, we see more of the dysfunction of the Blackwood family. Lilly’s father is revealed to be a spineless and ineffectual figure, who finds his daughter only to tell her that he cannot bring her home. His paternal instincts seem entirely absent, so Lilly’s resistance to forgiving him gives her the chance to distance herself from her parents and past. Similarly, when Julia discovers her father’s diary and learns about the Blackwoods’ first child, we see that Mr. Blackwood’s cowardice and inability to protect his children from their mother was a lifelong flaw.
Lilly undergoes significant character development as she becomes a teenager. Initially, her time in the sideshow was marked by humiliation and fear, and her first act completely objectified her as an object of derision. When she was attacked and covered in dog feces and mud, the faces of the horrified townspeople reflected her internal shame and sorrow at “ending up like this—a freak in a circus sideshow” (109). Her new circus act, however, while still exploitative, puts her in a position of relative power. To the rubes who come to see her, Lilly has abilities of divination that make her awe-inspiring rather than simply a person on display. The act also involves skill rather than relying on physical appearance: Lilly must secretly learn the name of the dead person the customer hopes to see and then convincingly portray a connection to the beyond. While she is still abused by Merrick, Lilly has also found a community of people who understand her experiences, including Glory and Cole. These relationships are critical for her development because they give her love and restore her sense of her own humanity, allowing her to develop a measure of Resilience in the Face of Societal Stigma and Adversity.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Ellen Marie Wiseman
Animals in Literature
View Collection
Beauty
View Collection
Challenging Authority
View Collection
Class
View Collection
Class
View Collection
Coming-of-Age Journeys
View Collection
Dramatic Plays
View Collection
Fear
View Collection
Hate & Anger
View Collection
Loyalty & Betrayal
View Collection
Memory
View Collection
Mothers
View Collection
Popular Book Club Picks
View Collection
Power
View Collection
The Best of "Best Book" Lists
View Collection
The Power & Perils of Fame
View Collection
Valentine's Day Reads: The Theme of Love
View Collection