The carnival sideshows of the past have left behind a fascinating legacy of mystery and intrigue. The secrets behind such daring feats as fire-eating and sword swallowing and bizarre exhibitions of human oddities as "Alligator Boys" and "Gorilla Girls" still remain, only grudgingly if ever given up by performers and carnival professionals. Working alongside the performers, Joe Nickell blows the lid off these mysteries of the midway. The author reveals the structure of the shows, specific methods behind the performances, and the showmen's tactics for recruiting performers and attracting crowds. He also traces the history of such spectacles, from ancient Egyptian magic and street fairs to the golden age of P.T. Barnum's sideshows. With revealing insight into the personal lives of the men and women billed as freaks, Nickell unfolds the captivating story of the midway show.

In centuries past, death was a close companion, an expected visitor. Disease and war, infant mortality and natural disasters eliminated lives routinely. Death was real, and close, and viewed not with terror or astonishment but resignation and compassion.

With this century, attitudes began to change. We assumed that medicine would eradicate disease, that wars would cease and civil order would prevail. If we could not eradicate death, at least we would extend life.

But the past two decades have seen the tides turn. Death seems to be everywhere. Random killings level the innocent with the implicated. AIDS stalks relentlessly. Even our old enemy tuberculosis is resurgent. Death has come back to life.

This extraordinary book, assembled from the vast photographic archives of Harvard University, offers an unflinching look at death as it has been portrayed and experienced over the past 150 years. We see it on stage, in the laboratory, on the streets, and in the home. We see it as a consequence of old age, violence, accidents, and disease. The images contain elements of humor, pathos, anguish, and artifice. This is a book that will provoke thought (and even outrage) and help us come to terms with this natural event in our lives and perhaps, in making us understand its finality, to appreciate better the gift of life.

Ward Hall ran across town and joined the circus for a part time gig in 1944 when he was a "kid" living in Colorado. A year later, as a 15 year old 10th grade dropout, he ran away for good, joining the Dailey Bros. Circus. He never looked back. By 16 he was performing in a sideshow and by age 21, he owned a sideshow! Today, 70 years later and countless circus and side show, vaudeville and burlesque house performances under his belt, Ward Hall is still in the business. Ward has worked with a monkey girl, a half-lady/half man, numerous fat men, countless sword swallowers, fire eaters, several giants, big snakes, big rats and little horses. He has mastered juggling, ventriloquism and the art of enticing thousands of curious onlookers to part with their money and go inside the tent of his world-famous sideshows. Ward has owned and operated sideshows, animal shows, magic shows, and illusion shows with such fashionable names as Magic on Parade; Wondercade: Aquarama water circus; Gladiators vs. Mankillers wild animal show; World Attractions; Sky High Circus; the Wonder Circus; the Pygmy Village; and the World of Wonders. He has exhibited the World's smallest woman, the World's tallest giant, and employed Pete Terhune, the mighty fire-eating dwarf for 55 years. In addition to owning or co-owning sideshows and circuses during his career, Ward has written four books, four musical stage productions, been in seven movies and more than 100 videos and TV specials, performed at Madison Square Garden and the Lincoln Center in New York City and has sung at Carnegie Hall. He is in the Hall of Fame of both the Outdoor Amusement Business Assoc. and the International Independent Showmen's Assoc. and is a member of the prestigious Circus Ring of Fame in Sarasota, Fla. Ward is the only person in all three of those halls of honor. Ward has operated the sideshow for many big time circuses, including: Ringling Bros. and Barnum & Bailey Circus, the Toby Tyler Circus, the Al G. Miller Circus, Circus Vargas (where he was part owner of the circus for a while), Beatty Cole, and the E.K. Fernandez Circus. Ward Hall's title of King of the Sideshows is not a new or recent act of coronation, and as the ruler of his own little world of misfits and human anomalies, Ward's title isn't self-awarded, but is a judgment rendered by his peers. The year 2014 is the King's 70th year anniversary in show business. This is his story.

From the author of The New England Grimpendium comes a new travelogue and insider’s guide to wicked, weird, wonderful New York.When J. W. Ocker’s first book, The New England Grimpendium, emerged on the scene, Max Weinstein of Fangoria.com called it “a travelogue for those who revel in the glory of their nightmares.” Rick Broussard at New Hampshire Magazine said of it, “I’ve read a dozen books about New England ghosties and weirdnesses, and this one is my favorite. It’s also one of the few that actually came up with stuff I didn’t already know about.” Now the author of that Lowell Thomas Award winner has unearthed hundreds of similarly creepy and colorful places in the Empire State that will make your skin crawl and your hair stand on end! Ocker’s essays on these places, some little known, some area landmarks, include directions and site information along with entertaining anecdotes delivered in his signature wry style. It’s definitely a wild ride from a jar full of the harvested brains of dead killers to horror movie filming sites around the state; from a ships’ graveyard to lake monster sightings. If it’s in New York and it’s bizarrely noteworthy or wonderfully wacky, you’ll find it in The New York Grimpendium.

Follow the footsteps of the father of American horror fiction! 

Edgar Allan Poe was an oddity. His life was odd, his literature is odd, his legacy is odd. Actually, his legacy is the oddest part about him. In Poe-Land: The Hallowed Haunts of Edgar Allan Poe, J. W. Ocker explores Poe's strange physical legacy along the East Coast and across the ocean by touring Poe's homes, examining artifacts from his life—locks of his hair, pieces of his coffin, original manuscripts, the bed where his wife died—and traveling to the many memorials dedicated to Edgar Allan Poe.

Along the way, Ocker meets Poe fans from a range of backgrounds and professions—actors, museum managers, collectors, writers, professors, businessmen, sculptors, historians—who have dedicated some part of their lives to Poe and his legacy. Poe-Land is a unique travel diary that follows the afterlife of the poet, author, and critic who invented detective fiction, advanced the emerging genre of science fiction, and elevated the horror genre with an unrivaled mastery over the macabre that has made the genre what it is today

The Artificial Kingdom is the first book to provide a cultural history of kitsch, an immensely popular aesthetic phenomenon that has always been disdained as "bad taste," or a cheap imitation of art. Proposing instead that kitsch is the product of a larger sensibility of loss, Celeste Olalquiaga shows how it enables the momentary re-creation of experiences that exist only as memories or fantasies. Simultaneously exposing and celebrating this process, Olalquiaga gives us a bold, trenchant analysis of what and how we see when we look at kitsch.

Tracing its beginnings to the nineteenth century—when industrialization transformed nature into an artificial kingdom of miniature scale—Olalquiaga describes the at once exhilarated and melancholic atmosphere where kitsch came to life. In an arresting mix of theory and anecdote, she examines objects from both the past and the present, probing the fluid boundaries between reality and fantasy, and finding in kitsch a phenomenon as relevant to our own time as it was to the era that made it a massive experience.

Beards—they’re all the rage these days. Take a look around: from hip urbanites to rustic outdoorsmen, well-groomed metrosexuals to post-season hockey players, facial hair is everywhere. The New York Times traces this hairy trend to Big Apple hipsters circa 2005 and reports that today some New Yorkers pay thousands of dollars for facial hair transplants to disguise patchy, juvenile beards. And in 2014, blogger Nicki Daniels excoriated bearded hipsters for turning a symbol of manliness and power into a flimsy fashion statement. The beard, she said, has turned into the padded bra of masculinity.

Of Beards and Men makes the case that today’s bearded renaissance is part of a centuries-long cycle in which facial hairstyles have varied in response to changing ideals of masculinity. Christopher Oldstone-Moore explains that the clean-shaven face has been the default style throughout Western history—see Alexander the Great’s beardless face, for example, as the Greek heroic ideal. But the primacy of razors has been challenged over the years by four great bearded movements, beginning with Hadrian in the second century and stretching to today’s bristled resurgence. The clean-shaven face today, Oldstone-Moore says, has come to signify a virtuous and sociable man, whereas the beard marks someone as self-reliant and unconventional. History, then, has established specific meanings for facial hair, which both inspire and constrain a man’s choices in how he presents himself to the world.

This fascinating and erudite history of facial hair cracks the masculine hair code, shedding light on the choices men make as they shape the hair on their faces. Oldstone-Moore adeptly lays to rest common misperceptions about beards and vividly illustrates the connection between grooming, identity, culture, and masculinity. To a surprising degree, we find, the history of men is written on their faces.