Carnival of the Lost

When Sheba, the “Wolf Girl”, is sold to Mr Plumpscuttle to be displayed in his freakshow, she’s hoping for a better life. She soon finds that Plumpscuttle is no better than any other freakshow owner. But the other freaks—from the gracious Mama Rat and strongman Gigantus to the mysterious knife thrower Sister Moon—are like a strange little family. 

During a show one day, Sheba meets a young mudlarker named Till. She’s kind, unlike most of the carnivalgoers, and makes an impression on Sheba. So when she disappears, Sheba is determined to find her again. The others decide to help her—but they don’t realise they’ve bitten off far more than they can chew. 

Reports of a mysterious mechanical crab appearing in the River Thames are connected to the disappearances of several mudlarker children. They chase this lead to an automaton creator, who says she created the crab on commission. As they investigate Mrs Crowley—the strange woman behind the disappearances—and her even stranger cronies, they theorise that she is trying to steal the beautiful Koh-i-noor diamond from the Crystal Palace. 

But when they go to intercept her, they realise her target is very different—Faraday’s electromagnetic impulse generator. A final showdown between Sheba and Mrs Crowley reveals long-hidden secrets about Sheba’s past, and Mrs Crowley’s own plan to harvest the children’s brains to create a panacea that could heal her facial deformities. Luckily, Sheba and her friends are able to thwart Mrs Crowley’s evil plan and escape from the Crystal Palace before the authorities arrive, returning Till safely to her parents. 

An extraordinary, atmospheric blend of Gothic horror, mystery, and historical fiction. The true strength of this book is in the array of characters and the connections Sheba makes with them. Most importantly, over the course of the book she gains confidence in herself and her appearance. The Quentin Blake-esque drawings lend a Dahlian air to this delightful tale of plucky orphans, steampunk automata, and mad scientists. Extensive footnotes at the end of the book add historical detail and context. Overall, this is a transporting read. 

historical fiction, mystery, thriller, disappearances, mudlarkers, Victorian London, mad scientists, science fiction, automaton, steampunk, secrets, plot twists, family, freakshow, carnival, acceptance, self esteem

1. Sheba can transform into a wolf. No reason is given as to why. Pyewacket is a dwarf called “the Witch’s Imp” for his act, supposedly a witch’s familiar. Much of his characterisation involves his need to be special and different, and he tries to use items associated with witchcraft to achieve this—though he is unsuccessful. He has a secondhand pack of tarot cards for his act, which he tries to read (p. 138). He hopes to see a ghost (p. 139). Makes a poppet and stabs pins into it (p. 149). Threatens to curse someone (p. 188). Spindlecrank the automaton creator has made two automata styled after Gog and Magog, son Pyewacket theorises she might be a witch (p. 155). 2. Mama Rat smokes a pipe throughout. 3. Sister Moon is Buddhist, meditates (p. 65). 4. Gigantus is poisoned (p. 164), recovers swiftly. Plumpscuttle was beaten off-page (p. 226, 265). The Major stabs Mama Rat (p. 276), sutured up (p. 280). Sister Moon fights the Major (p. 277). Gigantus breaks the Major’s jaw (p. 279). Mention of grave robbing (p. 323). Sister Moon throws a knife at Mrs Crowley (p. 326). Mrs Crowley falls off a building (p. 335).