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The Night Circus
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The Night Circus, by Erin Morgenstern, Anticipation-Part I & Initial Thoughts (Apr 2018)
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I first read The Night Circus when it first came out, and I liked it quite a bit -- it appealed to my inner romantic. I reread it for this discussion, and liked it perhaps even more for the neatness of it.
Part IIf The circus arrives without warning wasn’t one of the best openings that I have read in a while; perhaps, even comparable to Dickens’s one word sentence London. beginning Bleak House, then I don’t know what is? Anticipation does just that; it creates a spirit of intrigue, an air of uncertainty, all bundled up with a strange excitement to keep me reading…similar to that feeling when we feel butterflies in our stomach, if that makes any sense? The foundation of the novel has been well established, the premise alone, is curious enough!
In these preliminary pages, Morgenstern has created a world I could only dream of envisioning myself, much less yearn over wanting to be physically a part of it, this is the effect of Anticipation for me. But, it doens’t end here. All of a sudden, we end up in 1873 New York, where Prospero the Enchanter receives a suicide note pinned to the coat of a five-year-old girl, jolting me back to reality quickly from my reverie of a circus that seemed to have a mind of its own (9). The writing alone has me feeling like a rag doll, being pushed and pulled between two worlds at the turn of a page(s). Morgenstern has me traveling along path that is a mix of fact, idyllic moments, and fantasy. Considering the nature of these mercurial characters (Prospero/Hector Bowen, The man in the grey suit/Mr. A. H.—, C.C. Lefèvre) in conjunction to the ethereal nature of the women (Celia Bowen, Isobel Martin, Mdm. Padva, Tsukiko), the trend continues, Morgenstern beginning to weave her motley crü of characters in and out of their worlds. She’s a circus character in her own right, effortlessly putting on this show with her juggling skills…will she drop the ball? I guess we wait and see, but so far, it looks good to me!
The Writing... is extremely visual for me. From the very beginning when we first meet Celia as a five-year old with her bright eyes covered by her cloud of curls sitting atop her little head, her apprehension to her new surroundings to the man who was now known as her father, her intuition, the progression of her life in a span of thirteen years, Celia's isolation, her growing sadness, the yearning of a life other than her own, the external aspects of life and how they affect her internal self, it's not only felt by the reader...but seen as well. It's as if she's not of this world, that she too may be caught in between life and the illusion of life.This motif extends far beyond the characters, reaching the very circus itself. Morgenstern has breathed air into these tents, giving them a life of their own, anthropomorphic characteristics even. It's riveting and hypnotic, and wonderful to get lost in for a while.
The following tarot cards are from the Marseilles Deck
The Magician...Le Bateleur
Marco Alisdair has his own set of idiosyncrasies; yet, the only aspects about him that stick, currently, is the cruel treatment he endures living under the helm of the man in the grey suit/Mr. Alexander. H.— for so long, and that he's living with Isobel Martin wait, are they living together?. Speaking of Isobel Martin, did anybody else think she was Celia, when Isobel first meets Marco? I admit their relationship, Marco and Isobel, after he takes her on that whirlwind of an illusion ride, the narrative took a little nosedive for me. Their blooming affections for one another felt unrealistic; yet, I quickly came too and realized that this is exactly how it was supposed to be...unreal and out of this world.
The Lovers...L'amoureux
Um...Hard gulp!
I agree! It almost felt like being a kid at Christmas--the magic and the anticipation, and the idea that some secret someone has created a wonderful thing for you and it was hidden, and you just had to wait and wait and wait to find out what it was! Also, beginning with Celia appearing as an abandoned girl with a note pinned to her ... well, how could you not feel for her?
And I thought it was really interesting, in one of the links you provided Ami, the author said she went back and forth in time in order to introduce one of the characters who would play a big role sooner than he would appear if she just did it chronologically.
Kathleen wrote: "I agree! It almost felt like being a kid at Christmas--the magic and the anticipation, and the idea that some secret someone has created a wonderful thing for you and it was hidden, and you just ha..."
Well, this is great because it reminds me of Bailey...Who is this character, and how does he fit into the big scheme of things? I'll admit, his introduction to the narrative as a character, and his introduction to the narrative as a non-linear aspect, was also jolting for me. It was in Truth or Dare , I really began to pay closer attention to the dates. Originally, I did so only to figure out how old Marco, Celia and Isobel were when they all meet one another in their respective times.
Also, beginning with Celia appearing as an abandoned girl with a note pinned to her ... well, how could you not feel for her?
This was one of those times, Kathleen, I felt like a rag doll. The young child showing up with suicide note pinned to her coat, to then being described as this little girl with bright eyes, clouded by those curls. Morgenstern paints this painful picture, but it's obscenely cute...like a Margaret Keene painting?
the author said she went back and forth in time in order to introduce one of the characters who would play a big role sooner than he would appear if she just did it chronologically
I remember reading this! It didn't even dawn on me who should could possibly be talking about until now...I think? Who do you think it is, Kathleen?
Tsukiko...Better to have single perfect diamond than a sack of flawed stones (85)
I love this artwork depicting Tsukiko, the contortionist. She remains Chandresh's favorite, oft-referenced criterion for what the circus should be (86). Tsukiko, may have been his favorite, but was she memorable to you?
Personally, I enjoyed reading about her. I think there is a lot to be said about Tsukiko from the little we learn about her. There's something to be said about nocturnal, silent types...wouldn't you agree?
The writing style and type of story are in harmony, and the midnight meals and meetings add to the mysteriousness of it all. I also liked the illusion Marco creates when he meets Isobel. Atmosphere is used to great effect throughout.I always wince when I see contortionists practicing their art, and I sometimes look away. Back problems later in life?
Xan Shadowflutter wrote: "The writing style and type of story are in harmony, and the midnight meals and meetings add to the mysteriousness of it all. I also liked the illusion Marco creates when he meets Isobel. Atmosphere..."Talk about an initial meeting... one for the books!
The writing is simple to me, yet impactful. Even in Bailey’s sections, where his world is both full of dry reality and halcyon days, is dotted with imaginative fancy once we catch a glimpse of the circus, entering the outskirts, meeting and greeting those that leave imprints in our minds. The mood in either world is both captivating and memorable... And “this” is only the beginning!
Ami wrote: "Speaking of Isobel Martin, did anybody else think she was Celia, when Isobel first meets Marco? .."Yes, at first I thought he had met Celia. I had to re-read that chapter a couple times.
The writing has a dream-like quality. I think the imagination of the author is outstanding!
Joy D wrote: "Ami wrote: "Speaking of Isobel Martin, did anybody else think she was Celia, when Isobel first meets Marco? .."Yes, at first I thought he had met Celia. I had to re-read that chapter a couple tim..."
She braided the believable with the non-believable into a nice loose plait... whether it keeps with the structure, unravels or is tightened up as we continue our reading, remains to be seen.
This is one of my all time favorite books. Like The Mists of Avalon, it transported me completely to another world that I almost didn't want to leave.
Nutmegger wrote: "This is one of my all time favorite books. Like The Mists of Avalon, it transported me completely to another world that I almost didn't want to leave."That's great, Nutmegger, I'm happy to read you enjoyed it.
Some initial thoughts - I like the mystery of it and the magic aspect but I find the writing style a bit detached. It adds to the atmosphere but is keeping me apart from the characters too much. I was reading the scene with Celia's training to heal herself and felt completely unmoved by what should have been a moment I felt for her suffering. Anyone else having a similar experience so far?I was also absolutely convinced that Isobel was Celia :)
I completely understand your initial thoughts, as many of your insights echo my own. I find I've adhered myself to the atmosphere and thematic structure of the novel, than the characterizations, or lack there of, of the main players. While I found myself struck by Celia's training to heal herself or Marco's alienation, both at the hands of a father figure, it all does read in a rather "one note" fashion. I don't think Morgenstern builds enough of a platform, for many of these characters, she doesn't flesh them out enough in these prelim chapters. It prevents me from having a grasp on them, or their dynamics with one another, as I continue to progress in my reading, which creates an oddity for the characters while they are braided in and out of the narrative.I agree, I felt detached as well. Don't fret, however, there are other characters who anchored me in...and, well, there's still this phenomenal circus sitting central in this novel too. It's good, there are hiccups, but keep reading.
I find the characters mysterious yet pleasant (excepting Hector and Alexander), but it is the circus that's the main character. It's family.
The opening is fascinating: an unusual circus, gambling with the lives of unwanted but remarkable children, suicide, and magic. It’s a promising premise. I’m normally not to keen on second person—it often reads as “hidden” first person, but it seems to work here.
It's been a while since I read this, but yes, I loved the buildup in description, the excitement of anticipation! I remember seeing a circus as a kid and how wondrous it all was, things I had never seen before. It's rare that we get to experience that in quite the same way as we become adults.
It's early in our endeavor, and our feet are barely wet after Anticipation. After/while reading through Part I, what are your initial thoughts and insights, about this novel?
And now, let's welcome our main players: Celia Bowen, Marco Alisdair, Hector Bowen, the man in the grey suit (a Mr. A. H-.), C.C. Lefèvre, Isobel Martin, Bailey & Caroline. Another applause for members of the Midnight Dinners: Mme. Ana Padva, Ethan W. Barris and The Burgess Sisters (Tara and Lainie)...Tsukiko, the contortionist; Herr Friedrick Thiessen, the clock maker... There you are folks, plenty to entertain you with, where will they take us, what will they show us...Come and see, come and see!