NEW YORK TIMES BESTSELLER • Dispatches from the 2016 election that provide an eerily prescient take on our democracy’s uncertain future, by the country’s most perceptive and fearless political journalist. In twenty-five pieces from Rolling Stone—plus two original essays—Matt Taibbi tells the story of Western civilization’s very own train wreck, from its tragicomic beginnings to its apocalyptic conclusion. Years before the clown car of candidates was fully loaded, Taibbi grasped the essential themes of the story: the power of spectacle over substance, or even truth; the absence of a shared reality; the nihilistic rebellion of the white working class; the death of the political establishment; and the emergence of a new, explicit form of white nationalism that would destroy what was left of the Kingian dream of a successful pluralistic society. Taibbi captures, with dead-on, real-time analysis, the failures of the right and the left, from the thwarted Bernie Sanders insurgency to the flawed and aimless Hillary Clinton campaign; the rise of the “dangerously bright” alt-right with its wall-loving identity politics and its rapturous view of the “Racial Holy War” to come; and the giant fail of a flailing, reactive political media that fed a ravenous news cycle not with reporting on political ideology, but with undigested propaganda served straight from the campaign bubble. At the center of it all stands Donald J. Trump, leading a historic revolt against his own party, “bloviating and farting his way” through the campaign, “saying outrageous things, acting like Hitler one minute and Andrew Dice Clay the next.” For Taibbi, the stunning rise of Trump marks the apotheosis of the new postfactual movement. Taibbi frames the reporting with original essays that explore the seismic shift in how we perceive our national institutions, the democratic process, and the future of the country. Insane Clown President is not just a postmortem on the collapse and failure of American democracy. It offers the riveting, surreal, unique, and essential experience of seeing the future in hindsight. “Scathing . . . What keeps the pages turning in this so freshly familiar story line is the vivid observation and original turns of phrase.”—San Francisco Chronicle
In the fifth book, Scaredy Squirrel plans his own birthday and surprise!... things get very crowded. Scaredy Squirrel is planning his own birthday party for one _ but despite his detailed plans, things get out of control when the party animals arrive. He's back! Scaredy Squirrel, the loveable worrywart, returns for another nutty adventure. Scaredy never plans big birthday parties. He'd rather celebrate alone quietly in the safety of his nut tree and avoid those pesky party animals (ants, clownfish, ponies and Bigfoot). When all his excessive plans are thrown up in the air like confetti, will Scaredy play dead and cancel? Or will he face the music?
Step right up for the Greatest Book on Earth! For more than 70 years, Clowns International—the oldest established clowning organization—has been painting the faces of its members on eggs. Each one is a record of a clown's unique identity, preserving the unwritten rule that no clown should copy another's look. This mesmerizing volume collects more than 150 of these portraits, from 1946 to the modern day, accompanied by short personal histories of many of the clowns. Here are Tricky Nicky, Taffy, Bobo, Sammy Sunshine, the legendary Emmett Kelly, and Jolly Jack, clowning since 1977 and still performing today with a penguin puppet named Biscuit. A treasure just like the eggs it enshrines, The Clown Egg Register is an extraordinary archive of images and lives of the men and women behind the make-up.
With texts by premier comedians such as Steve Martin, Jay Leno, Woody Allen, Goldie Hawn, Lisa Kudro, Whoopi Goldberg, Gary Shandling, Martin Short and more. CLOWN PAINTINGS is a twisty illustrated book that showcases 65 full-colour, outrageously compelling clown portraits, painted by amateurs and selected by actor and director Diane Keaton. By turns hilarious and heartfelt, joyful and mortifying, Keaton found herself as mesmerised by their mute eloquence as by their bad taste, and culled these wild images from her own private collection.