The true story of film and television actor David Figlioli's journey from a hard fought steady career in Hollywood to his life changing decision to run away and join the circus. Attempted human rights violations, drug use, imprisonment, deportation, sex, bureaucratic buffoonery, world travel, cultures clashing, artistic growth and the reality of living the dream are candidly unveiled in the new book, "MEMOIRS of a CIRCUS CLOWN." Unapologetically honest and yet filled with the belief in the importance of dreams, "MEMOIRS of a CIRCUS CLOWN" is a unique, first person account of an actor following his dreams of working in television and the subsequent midlife crisis that propelled him to get a job touring and performing as a clown in the circus. Discover the reality of working in Hollywood and an insiders view of what it takes to audition, train, tour and perform for millions of spectators in the modern day circus. Follow the experience of one man's journey of conquering his biggest fears and the ultimate discovering of himself while hidden behind a mask of clown make-up.

"The Autobiography of a Clown" by Isaac Frederick Marcosson. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

An award-winning author and a Caldecott Medalist introduce an adorable new circus star — who won’t stop wailing! When Frieda and Boffo Clown have a baby, everyone in the circus is over the moon. But there is just one problem: Baby Clown won’t stop crying! Frieda and Boffo try everything: putting on their silliest faces, driving him around in their tiny car. They even try taking off his red nose and big shoes. But that just makes Baby Clown cry more. Can Frieda and Boffo turn his little clown frown upside down in time for the sold-out show? Kara LaReau deftly juggles wit and warmth in this hilarious nod to parental persistence, while Matthew Cordell’s big-top-bright illustrations bring Baby Clown and his circus family to humorously frazzled life. Older siblings, in particular, will step right up to this applause-worthy picture book, joining Baby Clown in many a heartfelt “WAAAAH!”

Memoirs of the sad-faced hobo clown of the Ringling Brothers - Barnum and Bailey circus.

A Kirkus Reviews Best Nonfiction Book of the Year When Duncan Wall visited his first nouveau cirque as a college student in Paris, everything about it—the monochromatic costumes, the acrobats singing Simon and Garfunkel, the juggler reciting Proust—hooked him. Soon he was attending circuses two or three nights a week, and soon after that, he entered the intensively competitive training program at France’s École Nationale des Arts du Cirque. The Ordinary Acrobat is a magical, funny, sometimes scary story of what happens when one average American joins a host of gifted—and flexible—international students in a rigorous regimen of tumbling, trapeze, juggling, and clowning. Brimming with surprises, outsized personalities, and plenty of charm, this personal history of how the circus evolved into the thrilling experience it is today delivers all the excitement and pleasure of the circus ring itself.

"Petronius, the funniest clown in the world, has had enough of being told what to do. Together with his friends, he sets up his own circus. Will the hopeful crew finally be able to perform the tricks they've always dreamed of doing? This picture book classic from 1961 has been newly illustrated by award winner Torben Kuhlmann for a whole new generation to enjoy."--Back cover

NEW YORK TIMES BESTSELLER • Dispatches from the 2016 election that provide an eerily prescient take on our democracy’s uncertain future, by the country’s most perceptive and fearless political journalist. In twenty-five pieces from Rolling Stone—plus two original essays—Matt Taibbi tells the story of Western civilization’s very own train wreck, from its tragicomic beginnings to its apocalyptic conclusion. Years before the clown car of candidates was fully loaded, Taibbi grasped the essential themes of the story: the power of spectacle over substance, or even truth; the absence of a shared reality; the nihilistic rebellion of the white working class; the death of the political establishment; and the emergence of a new, explicit form of white nationalism that would destroy what was left of the Kingian dream of a successful pluralistic society. Taibbi captures, with dead-on, real-time analysis, the failures of the right and the left, from the thwarted Bernie Sanders insurgency to the flawed and aimless Hillary Clinton campaign; the rise of the “dangerously bright” alt-right with its wall-loving identity politics and its rapturous view of the “Racial Holy War” to come; and the giant fail of a flailing, reactive political media that fed a ravenous news cycle not with reporting on political ideology, but with undigested propaganda served straight from the campaign bubble. At the center of it all stands Donald J. Trump, leading a historic revolt against his own party, “bloviating and farting his way” through the campaign, “saying outrageous things, acting like Hitler one minute and Andrew Dice Clay the next.” For Taibbi, the stunning rise of Trump marks the apotheosis of the new postfactual movement. Taibbi frames the reporting with original essays that explore the seismic shift in how we perceive our national institutions, the democratic process, and the future of the country. Insane Clown President is not just a postmortem on the collapse and failure of American democracy. It offers the riveting, surreal, unique, and essential experience of seeing the future in hindsight. “Scathing . . . What keeps the pages turning in this so freshly familiar story line is the vivid observation and original turns of phrase.”—San Francisco Chronicle