Elisa Shua Dusapin’s third novel, first published in French in 2020, is a quiet, meditative story of shared endeavour. Though gentle, its emotional complexity means it is Dusapin’s most accomplished work yet. Ironically, its gentleness also makes it a forceful riposte to the individualism and competitiveness that can dominate social and working life. And with its international cast and narrative of cooperation, it is particularly resonant in this moment of proliferating geopolitical conflict.
Vladivostok Circus is narrated by Nathalie, a costume designer fresh from university in Belgium, who is working in her first job for a trio of circus performers preparing a dangerous bar routine. Nathalie arrives at the circus venue in Vladivostok at the end of the season, where she takes up residence with the performers – Anna, the “flyer”, who is Ukrainian; Nino and Anton, the “bases”, German and Russian respectively. There is also the group’s Quebecois director, Leon, and his rescue cat, Buck. During the late autumn off-season this motley crew navigate differences of class, culture and age that cause friction but also open avenues for fruitful collaboration.
