Mermin, who “ran off to join the circus” in 1969 and founded his own circus, chronicles life under the big top. The author recounts having to convince his skeptical mother of the worthiness of his ambitions; her dismissal inspired the name of Mermin’s own show, Circus Smirkus. This memoir begins with stories of Mermin’s participation in late-20th-century European circuses, such as Circus Benneweis and Circus Hoffman, and includes photos at the beginning of each section and Gersch’s sketches of clowns, tents, and other circus elements. Throughout, Mermin highlights his relationships with well-known performers, especially his mentor, the renowned mime Marcel Marceau (who never performed with a circus until Mermin persuaded him to perform in Circus Smirkus). The author catalogs the early years of building Circus Smirkus, a small Vermont-based affair that followed the model of traditional European circuses and employed young performers. One of the most interesting elements of the book charts how Mermin fostered a glorious multicultural stage, inviting “coaches and circus kids from Russia, Latvia, Ukraine, Mongolia, Kazakhstan, Hungary, Georgia, Moldova, Canada, China, Cuba, Brazil, Indonesia, Israel, Palestine, Ethiopia, Great Britain, New Zealand, states from all around the US, as well as ten First Nation tribes, the Sioux, Yakama, Hunkpapa, Cree, Santee, Dakota, Oglala, Navaho, Azteca, and Cherokee.” Mermin also includes his own “coming out” as Jewish to an antisemitic fellow performer. One glaring oversight—the memoir pays scant attention to controversies over circuses, particularly the abuse of animals. Circuses continue to evolve, however, and Mermin reassures readers that the circus as an art form is very much alive, noting that his own circus will continue on after his retirement.