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The Trapeze Act
Loretta’s mother was a trapeze artist in Europe, the star of the famed Rodzirkus circus, before she walked out on her drunken husband and his debts while on tour in Australia. But a life in 1960s suburban Adelaide was always going to be difficult, even if she does land herself the most handsome young barrister of the town, and Leda’s behaviour raises more than a few eyebrows.
Leda’s father, handsome barrister Gilbert Lord, has no interest in his past, but hidden in a wardrobe are the journals of his ivory merchant great-great-grandfather who led an expedition to Australia’s desert interior to search for elephants.
For Loretta, growing up in her mother’s flamboyant and often outrageous shadow, life is stifling and at times brutal. But the harder she tries to separate herself from her mother, the more she longs for her attention and love—and the more she finds that the past is inextricably woven into her own life and who she is.
The Trapeze Act weaves stories of the circus and the doomed ivory expedition through a novel that is at once a heartbreaking tale of the search for acceptance and a celebration of the lustre and magic of life.
Leda’s father, handsome barrister Gilbert Lord, has no interest in his past, but hidden in a wardrobe are the journals of his ivory merchant great-great-grandfather who led an expedition to Australia’s desert interior to search for elephants.
For Loretta, growing up in her mother’s flamboyant and often outrageous shadow, life is stifling and at times brutal. But the harder she tries to separate herself from her mother, the more she longs for her attention and love—and the more she finds that the past is inextricably woven into her own life and who she is.
The Trapeze Act weaves stories of the circus and the doomed ivory expedition through a novel that is at once a heartbreaking tale of the search for acceptance and a celebration of the lustre and magic of life.
240 pages, Paperback
Published January 3, 2017
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75 people want to read
About the author
Libby Angel
3 books8 followersLibby Angel is an Australian poet whose work has appeared in several journals. The Trapeze Act is her first novel.
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Displaying 1 - 17 of 17 reviews
April 24, 2017
‘The brutal and tragic circus tales in The Trapeze Act will appeal to fans of Sara Gruen’s Water for Elephants, while the family drama and Australian history will delight any modern literature reader.’
Books+Publishing
‘Angel’s evocative prose easily captures the eras she describes, and her quirky characters…A colourful tale.’
BookMooch
‘One to pick up early this year…A complex narrative that interweaves circus tales with family heartache.’
ArtsHub
‘The Trapeze Act is not a novel about being in the circus, but about what happens after the circus…the novel follows Loretta’s journey as she grapples with her parents’ past and their influence on her present.’
Guardian
‘It is an enriching story of heartbreak and a search for love and acceptance.’
Weekly Times
‘This family drama weaves circus magic, suburban malaise and tales of the Dark Continent in seamless harmony. An impressive debut.’
Qantas Magazine
‘An expertly layered, lyrical rumination on family and identity…Angel has a vivid imagination and poetic skill with language. Her prose is evocative, her strikingly original characters as bright and colourful as they are intense. The Trapeze Act is a compelling portrait of a highly dysfunctional but delightful family. I look forward to seeing more from this talented writer.’
Readings
‘Quixotic and unpredictable and entertaining, like a good circus act.’
ReadPlus
‘The Trapeze Act is a stunning novel—something that should come as no surprise, give that it’s the debut from poet Libby Angel. Angel transitions with ease between voices, eras and writing styles, crafting a lyrically beautiful world populated with fantastic characters…A beautiful debut’.
AU Review
‘The Trapeze Act weaves stories of the circus and the doomed ivory expedition through a novel that is at once a heartbreaking tale of the search for acceptance and a celebration of the lustre and magic of life.’
Better Read Than Dead
‘Libby Angel’s The Trapeze Act proves a colourful and striking coming-of-age novel, composed with a poet's sensitivity, flair and finesse.’
Age
‘If it sounds fabulously convoluted, that’s because it is—but first-time author-poet Libby Angel expertly shifts between the various story arcs. Of course, it all starts to go horribly wrong, leaving Loretta to find her own way. But Angel’s feisty voice and eye for the idiosyncrasies of 1960s Australia mean this is bloody bonza, mate.’
North & South
Books+Publishing
‘Angel’s evocative prose easily captures the eras she describes, and her quirky characters…A colourful tale.’
BookMooch
‘One to pick up early this year…A complex narrative that interweaves circus tales with family heartache.’
ArtsHub
‘The Trapeze Act is not a novel about being in the circus, but about what happens after the circus…the novel follows Loretta’s journey as she grapples with her parents’ past and their influence on her present.’
Guardian
‘It is an enriching story of heartbreak and a search for love and acceptance.’
Weekly Times
‘This family drama weaves circus magic, suburban malaise and tales of the Dark Continent in seamless harmony. An impressive debut.’
Qantas Magazine
‘An expertly layered, lyrical rumination on family and identity…Angel has a vivid imagination and poetic skill with language. Her prose is evocative, her strikingly original characters as bright and colourful as they are intense. The Trapeze Act is a compelling portrait of a highly dysfunctional but delightful family. I look forward to seeing more from this talented writer.’
Readings
‘Quixotic and unpredictable and entertaining, like a good circus act.’
ReadPlus
‘The Trapeze Act is a stunning novel—something that should come as no surprise, give that it’s the debut from poet Libby Angel. Angel transitions with ease between voices, eras and writing styles, crafting a lyrically beautiful world populated with fantastic characters…A beautiful debut’.
AU Review
‘The Trapeze Act weaves stories of the circus and the doomed ivory expedition through a novel that is at once a heartbreaking tale of the search for acceptance and a celebration of the lustre and magic of life.’
Better Read Than Dead
‘Libby Angel’s The Trapeze Act proves a colourful and striking coming-of-age novel, composed with a poet's sensitivity, flair and finesse.’
Age
‘If it sounds fabulously convoluted, that’s because it is—but first-time author-poet Libby Angel expertly shifts between the various story arcs. Of course, it all starts to go horribly wrong, leaving Loretta to find her own way. But Angel’s feisty voice and eye for the idiosyncrasies of 1960s Australia mean this is bloody bonza, mate.’
North & South
December 23, 2016
“How was it possible, they asked themselves, that a carnie like Leda had nabbed and procreated with one of the most successful barristers in the state? How was it possible that a woman such as she – who, let’s admit it, although attractive, was highly eccentric – could be living in an architect-designed house with her own side in a walk-in wardrobe?”
The Trapeze Act is the first novel by Australian author and poet, Libby Angel. Loretta Maartje Lord’s childhood was never ordinary: her father Gilbert, an ambitious criminal barrister, was often absent; her older brother, Kingston was a delinquent charmer of some originality; but was their behaviour partly the product of her larger-than-life Dutch-born mother? Leda Lord had abandoned her touring circus, her trapeze act and her alcoholic Cuban husband in the sixties for a better life in Adelaide.
Ettie’s own name was a compromise: “I have to at least be able to pronounce it, my father said, after my mother presented him with her shortlist of Dutch names. To him, the rolls and grunts of my mother’s native tongue sounded as if the speaker were coughing up something sinister. Whenever he tried to pronounce the words, he lost control of his mouth, letting forth a spray of spittle. He worried he would swallow his tongue”
Ettie’s story is told in flashbacks from her childhood, describing notable family events; Leda’s tales of circus life also feature heavily; interspersed throughout are extracts from the journals of her great, great, great grandmother Henrietta Lord, describing their sea journey from London to Adelaide; and the Expedition Journal of Henrietta’s husband, ivory merchant and explorer, Ernest Lord, in his quest for discovery of Australia’s inland sea and some central Australian elephants.
Ettie’s family “… came to treat one another, the four of us, like guests with no common language at a shared-bathroom hostel, opposing magnetic fields drawn to our various pursuits: my father to work, my mother to the owl, my brother to delinquency, and me to the yard of bones”. Ettie retreats to the nearby cemetery: “At the far end of the cemetery, backing onto a disused quarry, strangled by sour sobs, were the cot-sized graves of stillborns, little fallen soldiers with unmarked wooden crosses at their heads”
“But don’t forget, she warned us, no matter which school you go to or how famous your father gets, in the eyes of the people of this godforsaken town, you children are precisely one half of me, that is, one half peasant low-life carnie”
Angel’s evocative prose easily captures the eras she describes, and her quirky characters: “Nobody ever mentioned the fact that my mother would be wearing a plastic fox mask and a wig, or that she had just made it all the way through a tennis match dressed as a robot on a thirty degree day. And won. They didn’t say, Oh, that renaissance-era dress is so elegant! They didn’t laugh or frown or acknowledge Leda’s absurdity in any way at all, as if they couldn’t actually see her” and “an oxygen mask like a snout on her face” are examples.
“My father appeared pleased when he could see the woman he had married, the shape of her, although even at her most restrained, it must be said, Leda reeked of irony” although eventually Gilbert takes another lover, whom he, nonetheless, finds more needy that Leda who “…on the other hand, required no such buffering from the realities of life, loneliness and the certainty of death – for Leda, these were trifles to be faced with the same pragmatism and flair with which she had faced the dangers of flying, with which she had borne the expectant faces of the audience beneath (some of whom, she suspected, had secretly hoped she would fall.)”
As an adult, Ettie is still haunted by her mother’s loquacious and opinionated spirit. Both Leda’s tales and Ernest’s narrative never leave her: “The desert becomes little more than an ache in my joints, the circus a collection of fairytales told to frighten children. With every retelling, details are changed or lost. But there is no way to forget, not yet. In my cells, I know”. A colourful tale whose somewhat ambiguous ending leaves the reader with plenty to think about.
The Trapeze Act is the first novel by Australian author and poet, Libby Angel. Loretta Maartje Lord’s childhood was never ordinary: her father Gilbert, an ambitious criminal barrister, was often absent; her older brother, Kingston was a delinquent charmer of some originality; but was their behaviour partly the product of her larger-than-life Dutch-born mother? Leda Lord had abandoned her touring circus, her trapeze act and her alcoholic Cuban husband in the sixties for a better life in Adelaide.
Ettie’s own name was a compromise: “I have to at least be able to pronounce it, my father said, after my mother presented him with her shortlist of Dutch names. To him, the rolls and grunts of my mother’s native tongue sounded as if the speaker were coughing up something sinister. Whenever he tried to pronounce the words, he lost control of his mouth, letting forth a spray of spittle. He worried he would swallow his tongue”
Ettie’s story is told in flashbacks from her childhood, describing notable family events; Leda’s tales of circus life also feature heavily; interspersed throughout are extracts from the journals of her great, great, great grandmother Henrietta Lord, describing their sea journey from London to Adelaide; and the Expedition Journal of Henrietta’s husband, ivory merchant and explorer, Ernest Lord, in his quest for discovery of Australia’s inland sea and some central Australian elephants.
Ettie’s family “… came to treat one another, the four of us, like guests with no common language at a shared-bathroom hostel, opposing magnetic fields drawn to our various pursuits: my father to work, my mother to the owl, my brother to delinquency, and me to the yard of bones”. Ettie retreats to the nearby cemetery: “At the far end of the cemetery, backing onto a disused quarry, strangled by sour sobs, were the cot-sized graves of stillborns, little fallen soldiers with unmarked wooden crosses at their heads”
“But don’t forget, she warned us, no matter which school you go to or how famous your father gets, in the eyes of the people of this godforsaken town, you children are precisely one half of me, that is, one half peasant low-life carnie”
Angel’s evocative prose easily captures the eras she describes, and her quirky characters: “Nobody ever mentioned the fact that my mother would be wearing a plastic fox mask and a wig, or that she had just made it all the way through a tennis match dressed as a robot on a thirty degree day. And won. They didn’t say, Oh, that renaissance-era dress is so elegant! They didn’t laugh or frown or acknowledge Leda’s absurdity in any way at all, as if they couldn’t actually see her” and “an oxygen mask like a snout on her face” are examples.
“My father appeared pleased when he could see the woman he had married, the shape of her, although even at her most restrained, it must be said, Leda reeked of irony” although eventually Gilbert takes another lover, whom he, nonetheless, finds more needy that Leda who “…on the other hand, required no such buffering from the realities of life, loneliness and the certainty of death – for Leda, these were trifles to be faced with the same pragmatism and flair with which she had faced the dangers of flying, with which she had borne the expectant faces of the audience beneath (some of whom, she suspected, had secretly hoped she would fall.)”
As an adult, Ettie is still haunted by her mother’s loquacious and opinionated spirit. Both Leda’s tales and Ernest’s narrative never leave her: “The desert becomes little more than an ache in my joints, the circus a collection of fairytales told to frighten children. With every retelling, details are changed or lost. But there is no way to forget, not yet. In my cells, I know”. A colourful tale whose somewhat ambiguous ending leaves the reader with plenty to think about.
February 5, 2017
This is a quite fun book to read. Leda tries to find herself in a family of oddballs - an ex-trapeze artist for a mother and a leading lawyer but a workaholic for a father, Gilbert. Her brother is a smiling assassin - everyone thinks he is such a nice guy but in reality he is an anarchist.
Leda is a great character.
The book tells the family history from Leda's circus upbringing and from Gilbert's ancestor who arrived in Australia and went on an early exploration trek modelled on one of Sturt's journeys. Leda's story was full of humour and caricature stories. Gilbert's family was much more a straight story and became more straight as the story unfolded.
Leda is a great character.
The book tells the family history from Leda's circus upbringing and from Gilbert's ancestor who arrived in Australia and went on an early exploration trek modelled on one of Sturt's journeys. Leda's story was full of humour and caricature stories. Gilbert's family was much more a straight story and became more straight as the story unfolded.
April 6, 2020
I quite enjoyed the beginning and the character Leda, but apart from that this book wasn’t it. It’s an ‘okay’ from me.
November 24, 2025
I loved the writing style and the journal entries. I enjoyed the stories of the circus. It was a bit boring at times but I still enjoyed it. The ending left me sad and confused.
July 14, 2017
For a book that opens with the lead character debuting "through the flesh curtains of life," there's every hint that this is going to be an antipodean Geek Love, especially with the circus trappings and the narrative voice of a young woman looking back on her weird parents.
Yet this is a relatively laid-back narrative told from an outsider's perspective. There is the first generation immigrant story that is a particular interesting period of Australian history, with Loretta's world viewed formed by the strange behaviour of her parents and their extramarital leanings. Any damage to the narrator is held at arm's length, ultimately lessening the impact of the outcome. Indeed, it's really hard to know whether to like this or not.
Libby Angel is brimming with ideas here, and not all of them gel. Her approach is to break up the main narrative with epistolary fragments of ancestral voyages across the waves and into the interior. It is a story about the stories we tell ourselves. At its best, allegorical and bleak vignettes about monkeys named Punch are delightful. At other times, it's just fragmented.
Yet this is a relatively laid-back narrative told from an outsider's perspective. There is the first generation immigrant story that is a particular interesting period of Australian history, with Loretta's world viewed formed by the strange behaviour of her parents and their extramarital leanings. Any damage to the narrator is held at arm's length, ultimately lessening the impact of the outcome. Indeed, it's really hard to know whether to like this or not.
Libby Angel is brimming with ideas here, and not all of them gel. Her approach is to break up the main narrative with epistolary fragments of ancestral voyages across the waves and into the interior. It is a story about the stories we tell ourselves. At its best, allegorical and bleak vignettes about monkeys named Punch are delightful. At other times, it's just fragmented.
July 14, 2017
I don't know whether I loved or hated this book, so I just rated it slap bang in the middle. It is beautifully written yet the subject matter is harrowing masking under matter-of-fact. I'm not sure what even happened at the end of the book, did Loretta go crazy (she certainly would have had a serious case of PTSD), or did her mother, or anyone.... what the heck happened?
I'm one big hmmmmm on this book but it keeps me thinking, in a puzzled fashion.
I'm one big hmmmmm on this book but it keeps me thinking, in a puzzled fashion.
This entire review has been hidden because of spoilers.
January 2, 2026
Imperfect, Fun, Dark, Puzzling
I mostly liked this! Essentially it's a story about a strange Adelaidean family - Leda the acrobat, Gilbert the lawyer, Kingston the homewrecker and Loretta the narrator. The story is interspersed with unrelated mini-narratives which makes the book quite confusing. I initially wanted some kind of timeline or map to help me understand what was happening and when. It took me a couple of chapters before I had a hold on it.
Where the book really shines is when we get Loretta telling the wild history of her parents. I found that a fresh angle. It's more common for example for a parent to be telling the story of their child. I liked when the parents were in love, happy, eccentric and rebellious. I liked the combination of a circus star and a criminal lawyer. Something about that pairing just represents Adelaide quite well. I also thought Leda was a unique character - impulsive, astonishing, sometimes mean, but always brave. I really liked her spontaneous acrobatics in the school show, and the ridiculous costumes she wore around the house.
Unfortunately there's constant detours into other narratives. The biggest sideshow are the adventures of Loretta's great-great-great-grandfather Earnest. He arrives in Australia and goes on an exhibition into the desert. I confess this didn't interest me much. I see the connection to Adelaide's history but it had zero relevance to the main story I was invested in. I stopped reading these passages after several episodes.
There's also a couple of incredibly grim circus stories that Leda tells the children. These are way too long and again they don't add anything to the main story. There's also two weird chapters about some kind of yoga cult? I wasn't sure when that was supposed to be happening but I interpreted it as something the mother and daughter did after reuniting many years in the future.
Although the start and middle of the book are fun it gets dark in the final third. Loretta has a terrible time and Leda in particular is a terrible parent. She's more and more cruel and seems mentally unwell. Others are clearly aware how neglected the children are but nobody reports them and the state doesn't intervene.
The ending is confusing. Things happen in the last few chapters that are inexplicable and at odds with the prior tone. Kingston somehow manages to strip the entire house, including removing the roof tiles - all in just one day, while the others are out. Does he work with a gang of ninjas? Then just as inexplicably Mr Gore gets everything reinstalled in also just one day. There's also a chapter where the family are receiving death-threats and the mother is missing. Events go on without her. I flicked back to see if she had run away, but her absence here is completely unexplained.
I didn't quite understand why the father didn't step up to support the daughter. In many ways Loretta and Gilbert were both victims of Kingston and Leda, so it seems odd they didn't form a stronger bond. It also confused me why Leda and Gilbert were alternately hot and cold on each other, although outwardly they seemed successful. What triggered them to be so destructive? Or where there no reasons?
Worth a look. :-)
I mostly liked this! Essentially it's a story about a strange Adelaidean family - Leda the acrobat, Gilbert the lawyer, Kingston the homewrecker and Loretta the narrator. The story is interspersed with unrelated mini-narratives which makes the book quite confusing. I initially wanted some kind of timeline or map to help me understand what was happening and when. It took me a couple of chapters before I had a hold on it.
Where the book really shines is when we get Loretta telling the wild history of her parents. I found that a fresh angle. It's more common for example for a parent to be telling the story of their child. I liked when the parents were in love, happy, eccentric and rebellious. I liked the combination of a circus star and a criminal lawyer. Something about that pairing just represents Adelaide quite well. I also thought Leda was a unique character - impulsive, astonishing, sometimes mean, but always brave. I really liked her spontaneous acrobatics in the school show, and the ridiculous costumes she wore around the house.
Unfortunately there's constant detours into other narratives. The biggest sideshow are the adventures of Loretta's great-great-great-grandfather Earnest. He arrives in Australia and goes on an exhibition into the desert. I confess this didn't interest me much. I see the connection to Adelaide's history but it had zero relevance to the main story I was invested in. I stopped reading these passages after several episodes.
There's also a couple of incredibly grim circus stories that Leda tells the children. These are way too long and again they don't add anything to the main story. There's also two weird chapters about some kind of yoga cult? I wasn't sure when that was supposed to be happening but I interpreted it as something the mother and daughter did after reuniting many years in the future.
Although the start and middle of the book are fun it gets dark in the final third. Loretta has a terrible time and Leda in particular is a terrible parent. She's more and more cruel and seems mentally unwell. Others are clearly aware how neglected the children are but nobody reports them and the state doesn't intervene.
The ending is confusing. Things happen in the last few chapters that are inexplicable and at odds with the prior tone. Kingston somehow manages to strip the entire house, including removing the roof tiles - all in just one day, while the others are out. Does he work with a gang of ninjas? Then just as inexplicably Mr Gore gets everything reinstalled in also just one day. There's also a chapter where the family are receiving death-threats and the mother is missing. Events go on without her. I flicked back to see if she had run away, but her absence here is completely unexplained.
I didn't quite understand why the father didn't step up to support the daughter. In many ways Loretta and Gilbert were both victims of Kingston and Leda, so it seems odd they didn't form a stronger bond. It also confused me why Leda and Gilbert were alternately hot and cold on each other, although outwardly they seemed successful. What triggered them to be so destructive? Or where there no reasons?
Worth a look. :-)
October 7, 2025
I had to persist with this book as I found it difficult to engage with. The main characters of Leda, Gilbert and Kingston were bold, vibrant and probably unrealistic and therefore I found them unrelatable (and frankly hard to like) but the narrator, Loretta’s character was meek and mild in comparison. I felt sorry for her. Interwoven into the main story was the story of Loretta’s ancestors migration to Australia in search of elephants and ivory, and the expedition in the desert to find an inland sea. The tendency to jump time periods from the 1960s when the narrator is a child back to 1860s when her ancestors are making the slow boat journey to Australia interspersed with the circus family history was quite confusing. There seemed to be a lack of cohesive to the book. I also found the ending unsatisfactory. A disappointing read.
October 20, 2017
The Trapeze Act is the first novel by Australian author and poet, Libby Angel. I picked this up off the shelf in the library and was pleasantly surprised. Whilst it is a bit fragmented and jumps back and forward in time, it weaves early Australian history, with circus life, with a girls journey to finding herself in a dysfunctional family.
January 5, 2018
I really enjoyed this book, especially the character of the mother. There are parts that read better than others and some far fetched plot lines but it kept me engaged. I didn't get a great sense of the narrator's personality but this fits in with the over the top behaviour of her mum and brother, she may have always had to be in the background. There wasn't as much circus in there as I'd have liked but I did enjoy hearing some historical stories, not based on fact, I don't think, but then the circus is a world apart. There aren't explicit plot lines with a speculative feel but it did read as a larger-than-life tale.
December 21, 2025
Such vivid writing. Loved it
February 3, 2017
Really enjoyed this. While the structure is often fragmentary and episodic, that's key to Loretta's search for herself amidst the glaring shards of her over-the-top family history. I was reminded at times of Angela Carter ("Wise Children"/"Nights at the Circus"), but there's a feisty voice and withering wit here that's refreshingly unique.
abandoned
March 30, 2017I read about 50 pages of this, but it's just not my thing.
Or maybe just not right for me at this time.
Or maybe just not right for me at this time.
April 2, 2017
Set in the 1960s, the exotic trapeze artist, Leda, decides to leave the failing circus her family has been part of for years and set out on her own. Unexpectedly she meets and marries the ambitious young barrister, Gilbert and they have two children - Kingston and Loretta. The story is told largely through Loretta's eyes. Leda is a complex character, difficult to like or understand. She is eccentric, lacking in maternal affection and at times brutal, yet we can accept her search for magic in her life.
What I did find hard to come to terms with was the secondary story of another eccentric family member - Ernest, the great-grandfather who believes that Central Australia is populated by elephants and persuades some benefactors to finance his quest to hunt them down. This story is told through the journal entries of Ernest and of his long-suffering wife, Henrietta. Why?? I don't think that this narrative added anything to Leda's story and just complicated the novel unnecessarily.
It seemed to me that Libby Angel has two distinct stories to tell, and they just don't gel in the one narrative.
I would be interested to know what others think....
What I did find hard to come to terms with was the secondary story of another eccentric family member - Ernest, the great-grandfather who believes that Central Australia is populated by elephants and persuades some benefactors to finance his quest to hunt them down. This story is told through the journal entries of Ernest and of his long-suffering wife, Henrietta. Why?? I don't think that this narrative added anything to Leda's story and just complicated the novel unnecessarily.
It seemed to me that Libby Angel has two distinct stories to tell, and they just don't gel in the one narrative.
I would be interested to know what others think....
This entire review has been hidden because of spoilers.
May 2, 2017
This novel follows multiple story threads - a modern day dysfunctional family, a failing carnival crew, a doomed inland expedition to find elephants in the centre of Australia. There is a dreamlike, poetic nature to the novel and some intriguing scenes. Being set, in part, in my neck of the woods certainly added some appeal. Though I quire enjoyed the historical sections of the book, the descriptions of the modern family were harrowing, filled with bitterness, deceit and misunderstandings, the characters deeply flawed and unlikable.
Read
November 26, 2017Loretta Lord is a thirteen-year-old girl from a dysfunctional family. Her mother comes from a long line of Dutch circus folk, and her father from elephant-hunting explorers. Her mother acts increasingly erratic, her brother towards delinquency, and her father towards a mistress, as Loretta struggles to piece together the story of who she is. The narrative of how her parents met is interwoven with diary entries and letters of her explorer ancestors.
Displaying 1 - 17 of 17 reviews