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Editorial Reviews
From The New Yorker
Gibsonton is a small town on the Gulf Coast of Florida that serves as the off-season refuge—and, increasingly, retirement home—for a community of circus performers and carnival sideshow freaks. Here sympathetic zoning regulations don't penalize you for keeping a roller coaster parked in front of your house or an elephant in the back yard. Schneider's high-contrast black-and-white portraits of Gibsonton residents present the aging members (some now deceased) of a rapidly diminishing tribe: Jeanie Tomaini, the Half Lady, who is the proprietor of the local bait shop; the Welde family, with their tutu-clad dancing bear; and the nonagenarian Human Blockhead hammering giant nails into his right nostril. Tomaini's daughter remarks, "When your father is an eight-foot, four-inch giant and your mother is two feet six inches with no legs, some outsiders think you must have a really weird home life," but these photographs achieve a winning sense of the everyday.
Copyright © 2005 The New Yorker
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Gibsonton is a small town on the Gulf Coast of Florida that serves as the off-season refuge—and, increasingly, retirement home—for a community of circus performers and carnival sideshow freaks. Here sympathetic zoning regulations don't penalize you for keeping a roller coaster parked in front of your house or an elephant in the back yard. Schneider's high-contrast black-and-white portraits of Gibsonton residents present the aging members (some now deceased) of a rapidly diminishing tribe: Jeanie Tomaini, the Half Lady, who is the proprietor of the local bait shop; the Welde family, with their tutu-clad dancing bear; and the nonagenarian Human Blockhead hammering giant nails into his right nostril. Tomaini's daughter remarks, "When your father is an eight-foot, four-inch giant and your mother is two feet six inches with no legs, some outsiders think you must have a really weird home life," but these photographs achieve a winning sense of the everyday.
Copyright © 2005 The New Yorker
Product Description
The Last Sideshow is a wonderful chronicle of an American community of traveling circus performers. As a contributor to Vogue, GQ and Elle, Hanspeter Schneider's professional life has focused on the artifice of beauty. In his new book he challenges popular assumptions and captures beauty with charm and understanding, in perhaps the most unusual of places. The portraits have humor, dignity and vivacity but above all they are a fascinating account of a disappearing community.
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