A sudden loss in Haverhill leaves an old family friend behind, 18-year-olds Augustus and Allister Biggs have just the thing to get Bud Persly's mind off of his mother's death - the mysterious, yet charming, J.Q. Lazarus and his band of quirky carnies. With the ring leader in need of land for his upcoming two-week carnival, the Biggs twins persuade Bud to let J.Q. use his newly-inherited property. But when Augustus starts to question the ring leader's true intentions, he discovers a secret too horrifying to imagine. In a race against time, Augustus must act quickly to save his friends and Haverhill before they are changed forever.
"Reminiscent of ... the gritty writings of Studs Terkel and John Steinbeck, with a dash of Jack Kerouac, Tony Horwitz, and even Hunter S. Thompson." Review!"Majestic ... Deep Observations About Life!" -- Chicago Tribune. American OZ is a rollicking, gritty, adventurous story of life in the secretive subculture of traveling carnivals. You'll never see your state fair or street festival the same way again. Comerford writes a bold, inspiring true story of a year working on the road behind the scenes with the colorful characters and legends of carnivals. He shares stories of freaks, a carnival pimp, and the last King of the Sideshows. A dunk tank insult-clown is shot. Masked gunmen rob his carnival. And a young showman friend dies a shocking death on the road. It's a new classic American road story as he hitchhikes to shows in California, New Jersey, New York, Chicago, Alaska, Minnesota, Oklahoma, Texas, Georgia, and Florida where he works in a freak show. He becomes the #1 hitchhiker in the USA and a top agent at the State Fair of Texas. He travels to the dangerous foothills of Mexico to see the new face of the American carny. He exposes the truths about seasonal work, labor abuse, and living between two worlds. People seek love and meaning in their lives on the road. Comerford finds we're all connected in more ways than we know."An American Masterpiece!" -- Kerry Lavelle, author/lawyer
Evil comes in frightening and familiar forms in this terrifying novel from #1 New York Times bestselling author Dean Koontz. Once there was a girl who ran away and joined a traveling carnival. She married a man she grew to hate—and gave birth to a child she could never love. A child so monstrous that she killed it with her own hands... Twenty-five years later, Ellen Harper has a new life, a new husband, and two normal children—Joey loves monster movies and Amy is about to graduate from high school. But their mother drowns her secret guilt in alcohol and prayer. The time has come for Amy and Joey to pay for her sins, because the carnival is coming back to town...
This fun and colorful title explains what a traveling carnival is and all of the exciting games, foods, events, animals and more that can be found at one. This title is at a Level 3 and is specifically written for transitional readers. Aligned to Common Core Standards and correlated to state standards. Dash! is an imprint of Abdo Zoom, a division of ABDO.
Since his release, Zef has been on the road, finding his spiritual home with a traveling carnival and working as a motorcycle stunt rider. Until a crazy girl who's run away to join the circus crashes into his world.
A summer by the seashore turns into a fantastical adventure for Tess & Max in this magical tale filled with excitement, acrobatics, hypnosis, and wonder. Tess and Max are back in England for another summer with their Aunt Evie--this time by the seashore in South Devon. And they're incredibly excited about the travelling carnival that's come to town. There are rides, games, acrobats, The House of Mirrors--and even a psychic, with a beautiful wagon all her own. In a visit to the psychic's wagon, while Tess is being hypnotized, the wagon seems to move. Before Tess can shake herself out of the hypnosis, before Max can do anything, they seem to be travelling--along with the rest of the carnival--too quickly for the two of them to jump out. But where are they going and what awaits them? Will they be caught in a world different from their own? And do the Baranova twins, acrobats who miss their sister almost as much as Tess and Max miss their family, hold the keys to the mystery? Internationally bestselling author Amy Ephron returns with a companion novel to The Castle in the Mist and creates a magical tale filled with adventure, mystery, fantasy, family, and fun. Praise for Carnival Magic: "Full of wonder and real-life enchantment, Amy Ephron's Carnival Magic is a charming adventure that will make a believer out of anyone!" —Rachel Vail, author of Well, That Was Awkward and the Friendship Ring series "Tess is a thoroughly modern heroine: She's athletic, impulsive, and fearless . . . The siblings are authentic children [and] the fantastic elements are the stuff of daydreams. Perfect for classroom read-alouds." —Kirkus Reviews "The short chapters filled with mystery and action will have readers eagerly continuing to discover the secrets that await them. . . . Fans of the first book will be eager for this fun middle-grade fantasy with a classic sensibility." —Booklist "The setting is contemporary—yet the language and tone feel distinctly nostalgic. This novel, which works as a stand alone, will captivate readers who enjoy their whimsy with a dash of risk." —School Library Journal "[Carnival Magic is] a softer otherworldly take on childhood mystery, reminiscent of classics like A Secret Garden . . . [it] is in itself an escape. Tess especially follows in that lineage of strong, intelligent female characters – a sort of Lucy Pevensie/Hermione Granger hybrid who is a leader, who believes in magic." —Teen Vogue "Amy Ephron has always been a magical storyteller. . . . In Carnival Magic, the companion book to Ephron’s successful The Castle in the Mist . . . Tess and Max are teaching children and their parents about the power of thoughtful decision-making, loyalty, and self-confidence. Life lessons and carnival rides . . . the perfect beach read for all ages." —Parade “Ephron renders this magical world with such assertive beauty that readers of all ages, who are fortunate enough to believe in the power of magic, will enjoy immersing themselves in the roller-coaster fun of these stories, and come to trust, even if for a short time, that in this ‘alternate universe’ it is possible for us to come together and ‘touch the sky.’” —Jewish Journal
Nonfiction. This is a document about an underground movement we're slowly bridging together through scattered clans of free thinkers, rebels and artists: groups of angry young people fed up living paycheck to paycheck in the wageslave braindeath passive observer (sub)urban trap that is our daily backdrop. An underground movement that has its poetic roots in the old traditions of traveling gypsies and pirates but is alive and well and lurking outside your door and maybe stirring somewhere in your hearts right at this very minute.
As television transformed American culture in the 1950s, critics feared the influence of this newly pervasive mass medium on the nation's literature. While many studies have addressed the rhetorical response of artists and intellectuals to mid-twentieth-century mass culture, the relationship between the emergence of this culture and the production of novels has gone largely unexamined. In A Novel Marketplace, Evan Brier illuminates the complex ties between postwar mass culture and the making, marketing, and reception of American fiction. Between 1948, when television began its ascendancy, and 1959, when Random House became a publicly owned corporation, the way American novels were produced and distributed changed considerably. Analyzing a range of mid-century novels—including Paul Bowles's The Sheltering Sky, Ray Bradbury's Fahrenheit 451, Sloan Wilson's The Man in the Gray Flannel Suit, and Grace Metalious's Peyton Place—Brier reveals the specific strategies used to carve out cultural and economic space for the American novel just as it seemed most under threat. During this anxious historical moment, the book business underwent an improbable expansion, by capitalizing on an economic boom and a rising population of educated consumers and by forming institutional alliances with educators and cold warriors to promote reading as both a cultural and political good. A Novel Marketplace tells how the book trade and the novelists themselves successfully positioned their works as embattled holdouts against an oppressive mass culture, even as publishers formed partnerships with mass-culture institutions that foreshadowed the multimedia mergers to come in the 1960s. As a foil for and a partner to literary institutions, mass media corporations assisted in fostering the novel's development as both culture and commodity.
