Come one, come all, to the greatest show in town! Nancy, Bess, and George are attending Little Big Top circus day camp, and now they're preparing for the big show. Bess will help Splatter the elephant make a painting, George will be an acrobat, and Nancy will perform with Celeste the Hopscotch Poodle. Then Celeste disappears while Nancy is taking care of her. Was Celeste dognapped by the Flying Tremendoes, the kid aerialists? Or by Orson Wong, who claimed the poodle made him sneeze? Or maybe by Katie Zaleski, who wanted Celeste for the TV program she's taping in her basement? One thing's for sure -- there's big, big trouble at Little Big Top!

#1 NATIONAL BESTSELLER • Two starcrossed magicians engage in a deadly game of cunning in the spellbinding novel that captured the world's imagination. • "Part love story, part fable ... defies both genres and expectations." —The Boston Globe The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway: a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them both, this is a game in which only one can be left standing. Despite the high stakes, Celia and Marco soon tumble headfirst into love, setting off a domino effect of dangerous consequences, and leaving the lives of everyone, from the performers to the patrons, hanging in the balance.

Fred Stone was one of America's most versatile and talented of Broadway's colorful entertainers. Audiences quickly discovered he could do anything and everything, from tightrope walking and acrobatics to song-and-dance, musical comedies, and straight drama. This work chronicles his extraordinary life and career. He was born in a log cabin August 19, 1873, in Valmont, Colorado, to a family that was part of the covered-wagon migration into the virtually unknown West. He joined a traveling circus at age 11 and two years later, joined a different one as a self-taught tightrope walker. During his teens, Stone performed on the variety stage, and at age 22, met Dave Montgomery, with whom he performed for over twenty years, including Broadway musicals, notably as the scarecrow in The Wizard of Oz. After Montgomery's tragic death in 1917, Stone continued to perform and shared his continued success with his closest friend Will Rogers, and Annie Oakley, Broadway producer Charles Dillingham, Western artists Charles Russell and Ed Borein, and author Rex Beach. Stone appeared in some 18 movies, from 1918 to 1940, including such western classics as The Westerner and Trail of the Lonesome Pine. In 1950, he retired from show business and during the last years of his life suffered from increasing blindness and heart trouble. He died at his Los Angeles home in 1959.

From the #1 internationally bestselling author of the “lush, evocative Gothic” (The New York Times Book Review) The Doll Factory comes an atmospheric and spectacular novel about a woman transformed by the arrival of a Victorian circus of wonders—“as moving as it is deeply entertaining” (Daniel Mason, New York Times bestselling author). Step up, step up! In 1860s England, circus mania is sweeping the nation. Crowds jostle for a glimpse of the lion-tamers, the dazzling trapeze artists and, most thrilling of all, the so-called “human wonders.” When Jasper Jupiter’s Circus of Wonders pitches its tent in a poor coastal town, the life of one young girl changes forever. Sold to the ringmaster as a “leopard girl” because of the birthmarks that cover her body, Nell is utterly devastated. But as she grows close to the other performers, she finds herself enchanted by the glittering freedom of the circus, and by her own role as the Queen of the Moon and Stars. Before long, Nell’s fame spreads across the world—and with it, a chance for Jasper Jupiter to grow his own name and fortune. But what happens when her fame begins to eclipse his own, when even Jasper’s loyal brother Toby becomes captivated by Nell? No longer the quiet flower-picker, Nell knows her own place in the world, and she will fight for it. Circus of Wonders is a beautiful story about the “complex dance between exploitation and empowerment, and the question of what it really means to have control over your own life” (Naomi Ishiguro, author of Escape Routes).

In this leadership memoir, take a step backstage at Cirque du Soleil. Vice Chairman Daniel Lamarre shares his experiences leading the awe-inspiring organization, and teaches readers what it takes for anyone, regardless of position or industry, to embrace the value of creative leadership. Without creativity, there is no business. At the core of Cirque du Soleil’s lavish, multi-million-dollar productions is Vice Chairman Daniel Lamarre, who has mastered the ability to bring business and creativity together across multiple languages and cultures in a way that has never been seen before. The secrets he shares in Balancing Acts are rooted in tremendous faith in your own creative skills, even if you are convinced you have none, and those of the sharpest minds within your organization. In this book, Daniel shares the untold stories behind Cirques biggest shows, including Beatles Love, Michael Jackson One, the aquatic marvel, O, and many more. Through these tales of triumph and trials, he will teach you: How to shatter the perceived limitations standing in the way of your ability to think creatively and innovatively; When to step up and when to step back so that your team can create a masterpiece that doesn’t break the bank; How in using the methods Daniel has uncovered, modern companies with entrenched bureaucracies can bring creativity and business together to foster innovation; and How to use creative thinking to lead your organization to new heights. Whether you work for one of the most creative organizations on the planet like Cirque du Soleil, in a stuffy corporate job, or somewhere in between—Balancing Acts is filled with principles that can strengthen and accelerate any business on the planet.

A boy looked in a window, to see a naughty show Through the pane of pain, the master clown did blow The circus is a holy tent, the keeper of my rhyme Where I forged my chains, creating this pantomime Pretending to be normal, I wait until after dark Then I paint the frown on, get a whore from the park At the bottom of that bed was a darling in a chest She watched with big eyes, horror hooking her from rest She dances for the maniac, twirling on her strings I will make her mine, sharing damaged things I will be her riddle, she will help me grin So why does she run away, she has to let me in No one loves the clown, not even the midget We've gone too far, she will know my secret Love can break the hardest mask, I know this to be true Nightmares have hearts too, I only needed you

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).

A century ago, daily life ground to a halt when the circus rolled into town. Across America, banks closed, schools canceled classes, farmers left their fields, and factories shut down so that everyone could go to the show. In this entertaining and provocative book, Janet Davis links the flowering of the early-twentieth-century American railroad circus to such broader historical developments as the rise of big business, the breakdown of separate spheres for men and women, and the genesis of the United States' overseas empire. In the process, she casts the circus as a powerful force in consolidating the nation's identity as a modern industrial society and world power. Davis explores the multiple "shows" that took place under the big top, from scripted performances to exhibitions of laborers assembling and tearing down tents to impromptu spectacles of audiences brawling, acrobats falling, and animals rampaging. Turning Victorian notions of gender, race, and nationhood topsy-turvy, the circus brought its vision of a rapidly changing world to spectators--rural as well as urban--across the nation. Even today, Davis contends, the influence of the circus continues to resonate in popular representations of gender, race, and the wider world.

Semiotics is long on theoretical, often obscure discourses, but short on applications that demonstrate with clarity the applicability of its methods. This book confronts a challenging object, the circus, and endeavors to describe its performances in ways that explain how circus acts produce meaning and cause a deep emotional involvement for their audiences. The approach is not top-down, such as would be a method that would dogmatically apply a particular theory to fully explain the phenomena in terms of this theory alone. Epistemologically, this book is an example of the bottom-up strategy, which consists of considering first the objects and heuristically calling upon methodological resources in a broad theoretical array to come to grips with the problems that are encountered. Any circus act is a complex event that has cognitive and emotional dimensions. It is also a part of a history and an institution, and cannot be abstracted from its cultural and sociological contexts. Thus the range of relevant theoretical and methodological approaches must include structural semiotics, biosemiotics, pragmatics, socio-semiotics, cultural anthropology, the cognitive sciences, the psychology and sociology of emotions, to name only the most important. But the ultimate focus of this book is to enable the readers to better understand the meaning of circus performances and to appreciate the skills and creativity of this traditional popular art, which constantly renews itself from generation to generation.