ONE OF US

Twin siblings run off to join the circus, which proves to be a dark carnival indeed.

Bolt and Eleanor, the teenage twins at the center of Chaon’s brilliant fifth novel, are orphans who’ve fallen under the watch of “Uncle Charlie,” a con man and serial killer. They escape Charlie’s clutches with the assistance of a mysterious Mr. Jengling, who operates a circus and recruits them for his sideshow—which includes a strongwoman, dog-faced boy, and, most creepily, Rosalie, a woman with a second head growing out of the side of her neck and who can predict how and when you will die. For all that darkness, the brother and sister find a welcoming ersatz family; interstitial chapters explore the background of each performer and the unique talents Jengling detected in them. (Bolt and Eleanor’s own talents—telepathy and telekinesis—are only just emerging.) Chaon is focused on how we find our identities outside the ones the world wants to apply to us; as the title suggests, Chaon takes inspiration from Tod Browning’s 1932 film, Freaks, in which the sideshow performers chant “one of us” as a sign of acceptance. Meanwhile, Chaon has also delivered a sharp thriller, as Uncle Charlie attempts to chase down the twins, leaving a bloody path along the way. Set mainly in 1915, the novel captures a vanished vaudeville world that Chaon resurrects in thoughtful detail, down to the era’s slang (ziggety, conflustered, woofits). But in its latter chapters, the novel is also powerfully otherworldly, deliberately warping assumptions about life, death, and the nature of souls. Bolt and Eleanor take divergent paths once they’ve joined the circus, but Chaon suggests that any path rooted in consideration of others is a valid one.

A magic trick: a novel that’s both deeply unsettling and tenderhearted.