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Explores the relentless, wacky, eerie energy of old-time American summers and Carnivals through vivacious imagery.
Two people from opposite worlds, one unforgettable kiss. You can't judge a carny by its cover. At a town fair on the coast of Oregon, handsome Native American carny, Vincent Youngblood, bestows an unforgettable kiss on shy, awkward teenager, Charlotte Davenport. Then disappears without another word, leaving her baffled and enamored. Ten years later, Charlotte is still living in the small fishing town of Astoria, while being trained to--reluctantly--take over for her philandering hotelier father when he retires. After all, who else will do it? Her two perfect sisters are busy being married to their flawless husbands and having cookie cutter children, while Charlotte remains single, childless, and every bit as mousy as she was a decade ago. As Charlotte struggles to climb out from underneath her judgmental parents thumb, the carnival rolls back into town, and Charlotte finds herself face to face with Vin again. He's back to run his father's carnival, walking away from a promising career in medicine he started in Chicago. Will her biased and judgmental family accept her relationship with a man who is not only a Native American, but works as a carny for a living? And what unsavory secrets bind the well-educated and seemingly superlative Vin to that ramshackle carnival? After all, you can't judge a carny by its cover.
Though she never wanted to sit on the plank above the dunk tank for the food pantry fundraiser, Jolie never dreamed what Scoobie saw would nearly kill him. His ex-con mother arrives and there's a murder to add to the mix. Even appraising real estate is complicated by home burglars. Jolie grudgingly seeks help from her nemesis, reporter George Winters, and tries to evade a kidnapper and murderer and take charge of her world again. The police wish she'd butt out and Aunt Madge is furious that Jolie insists on talking to a couple shady characters on her own. Soon even the guests at Aunt Madge's Cozy Corner B&B are in the way. Can Jolie keep her friends safe, and will Scoobie recover enough to say what happened to him and plan another silly fundraiser?
From the Projects to the Penthouse As the only Jewish family in the Ramona Gardens housing projects, Kenny tells the spellbinding story of being the oldest child of two small-time carnival thieves who make their living as traveling gypsies and then graduate to dealing heroin from their cockroach-infested apartment. It's an inside view of carnival life, of living in a cocaine-selling shooting gallery apartment and of surviving a gang-dominated existence in one of L.A.'s worst neighborhoods. It's also a story of the grit and determination of one small child, a child named Kenny Kahn, who saw education and hard work as the golden path and the only sure way to escape his tortured environment. Mr. Kahn has written his story in plain language in order to make it easily readable not only adults but by young people who feel trapped by their delinquent parents, and to offer hope for escaping to a better life.
A wise and extraordinary YA tale of great challenges, myths and folklore; the third title in the award-winning Travellers series. Lutha of the Floating Village helps Ish, the outcast boy, escape with his beloved dogs, Jak and Nip, but before long, they are swept away, hurtled down an underground river only to emerge in the harsh land of the Great White Bear. The Bear Man comes to their rescue and takes Ish under his wing. It’s through their friendship, Ish discovers the Bear Man is a servant of the village people: he is their wise one, their healer, their shaman. In this timeless story by one of New Zealand's finest writers for children, Ish gains wisdom and a place. He learns the profound power of knowledge, the terrifying force of superstition, and witnesses first hand the mysteries of the human spirit. But in this land of blinding light there lurks a dark, menacing presence threatening all who may offend her. Ish, discovering he is to be blinded, escapes the Droll and her servant with the help of the Shaman, and finds his way back to Lake Ka and Lutha.
The New York Times bestselling Pistol is more than the biography of a ballplayer. It's the stuff of classic novels: the story of a boy transformed by his father's dream—and the cost of that dream. Even as Pete Maravich became Pistol Pete—a basketball icon for baby boomers—all the Maraviches paid a price. Now acclaimed author Mark Kriegel has brilliantly captured the saga of an American family: its rise, its apparent ruin, and, finally, its redemption. Almost four decades have passed since Maravich entered the national consciousness as basketball's boy wizard. No one had ever played the game like the kid with the floppy socks and shaggy hair. And all these years later, no one else ever has. The idea of Pistol Pete continues to resonate with young people today just as powerfully as it did with their fathers. In averaging 44.2 points a game at Louisiana State University, he established records that will never be broken. But even more enduring than the numbers was the sense of ecstasy and artistry with which he played. With the ball in his hands, Maravich had a singular power to inspire awe, inflict embarrassment, or even tell a joke. But he wasn't merely a mesmerizing showman. He was basketball's answer to Elvis, a white Southerner who sold Middle America on a black man's game. Like Elvis, he paid a terrible price, becoming a prisoner of his own fame. Set largely in the South, Kriegel's Pistol, a tale of obsession and basketball, fathers and sons, merges several archetypal characters. Maravich was a child prodigy, a prodigal son, his father's ransom in a Faustian bargain, and a Great White Hope. But he was also a creature of contradictions: always the outsider but a virtuoso in a team sport, an exuberant showman who wouldn't look you in the eye, a vegetarian boozer, an athlete who lived like a rock star, a suicidal genius saved by Jesus Christ. A renowned biographer—People magazine called him “a master”—Kriegel renders his subject with a style that is, by turns, heartbreaking, lyrical, and electric. The narrative begins in 1929, the year a missionary gave Pete's father a basketball. Press Maravich had been a neglected child trapped in a hellish industrial town, but the game enabled him to blossom. It also caused him to confuse basketball with salvation. The intensity of Press's obsession initiates a journey across three generations of Maraviches. Pistol Pete, a ballplayer unlike any other, was a product of his father's vanity and vision. But that dream continues to exact a price on Pete's own sons. Now in their twenties—and fatherless for most of their lives—they have waged their own struggles with the game and its ghosts. Pistol is an unforgettable biography. By telling one family's history, Kriegel has traced the history of the game and a large slice of the American narrative.
Soon to be a major motion picture from Academy Award–winning director Guillermo del Toro and starring Bradley Cooper, Cate Blanchett, Rooney Mara, and Toni Collette. Nightmare Alley begins with an extraordinary description of a carnival-show geek—alcoholic and abject and the object of the voyeuristic crowd’s gleeful disgust and derision—going about his work at a county fair. Young Stan Carlisle is working as a carny, and he wonders how a man could fall so low. There’s no way in hell, he vows, that anything like that will ever happen to him. And since Stan is clever and ambitious and not without a useful streak of ruthlessness, soon enough he’s going places. Onstage he plays the mentalist with a cute assistant (before long his harried wife), then he graduates to full-blown spiritualist, catering to the needs of the rich and gullible in their well-upholstered homes. It looks like the world is Stan’s for the taking. At least for now.
Welcome to Dorchester Cemetery. On this Halloween night, our dearly departed residents will guide you through a collection of original spooky poems and creepy tales, each designed to chill your spine.
Bill, Merlin, Happy, and Kay are among the porn-film performers and producers who tell their stories to Dr. Robert J. Stoller in this pschyodynamic ethnography of adult heterosexual pornography. Their engrossing accounts reveal in rich detail not only the inner workings of "the Industry" and the fantasies and motivations of its participants but also the relation between this most denigrated of occupations and "normal" human erotic behavior and attitudes. Consistently nonjudgmental about the material he presents, Dr. Stoller nevertheless draws provocative conclusions about porn, its practitioners, and its effects on society. Everyone at work on a porn production, he says, uses it as a vehicle for unloading his or her rage against something--mores, institutions, laws, parents, females, or males. According to Dr. Stoller, pornography does not exist only to degrade women, there is no reliable evidence that it increases the frequency of rape, and (with the exception of child porn) it does little harm. Pornography, says Dr. Stoller, seems more the result of our changing society than a cause of change; it reflects, more than influences, our values and mores.
L.M. Thaxton, a carnival barker, realizes that his ex-wife, a knife-thrower, will be the prime suspect when her current husband, the owner of the carnival, is found with one of her knives in his back