From Publishers Weekly
The traveling carnival with its freak shows, cotton candy, nausea-inducing rides and games holds a prominent place in the American consciousness. Photographer Jeff Brouws (Highway: America's Endless Dream) and anthropologist Bruce Caron explore its grotesque, amusing beauty in Inside the Live Reptile Tent: The Twilight World of the Carnival Midway. Some of the photos are desolate a clown sign, faded by decades, welcomes us to the "Fun House," but the "H" doesn't light up. Other images rides by night, a small child in the mouth of an enormous fiberglass shark capture both the artistry and childish excitement of the carnival. While the history in Caron's text will be familiar to readers of American cultural history, it lends helpful context. The book should appeal not only to photography lovers, but to those who love all the chaos and absurdity carnivals represent.
Copyright 2001 Cahners Business Information, Inc.
In the first of five essays accompanying Brouws' knockout photos, Caron apprises us that carnival midways, though related to the traveling circus, sprang from such more stationary amusement venues as the 1893 Columbian Exposition. The various, often scruffy, definitely vulgar playlands that sprang up in the wake of that epoch-making world's fair flourished until the 1950s, when TV and other home amusements burgeoned and Disney created the grander, politer, cleaner theme park. Caron argues that carnival architecture influenced the looks of plenty of later amusement centers, from Anaheim to Orlando and from Vegas to the nearest Indian casino. Influence aside, the old places looked great--garish and goofy even when the sun did the lighting, and the rides were turned off. Brouws' pictures of roller coasters, sideshows, and games of chance may be elegiac, given the paucity of people in them, but they are so vivid and evocative, especially when compared with the black-and-white historical photos that directly illustrate Caron's remarks, that you can hear the calliope and smell the corn dogs.
Ray OlsonCopyright © American Library Association. All rights reserved