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The Power -- and Hazards -- of Illustrating a Circus Book: How Many Photos Are Too Many? Even Belong?

Once again, I have visited this highly subjective task in the search for photos to illustrate my latest effort, Inside the Changing Circus.

Strange empty feeling. In a few days I will not be trekking to the post office with a package addressed to my publisher, but sending off the entire manuscript, with captions slotted at photo placement points, via e-mail attachments.

Luckily, you can go photo fishing in the digital age without booking travel. Still, the challenge can be a daunting one when institutions with the goods you seek either don’t respond or place bureaucratic hurdles in your path; when circus companies display equal indifference. Which makes the rare generosity of a primary source particularly gratifying. In this instance, three people came through with flying colors for me, and a perfect storm of access and publisher latitude tempted me to illustrate, illustrate, illustrate!

To start with, my publisher, BearManor Media, placed no limit on the number of photos allowable. Add to this the most agreeable terms offered me by two major sources — the Milner Library at Illinois State University, in particular its Special Collections librarian Maureen Brunsdale and her crack photo fisher wiz, Mark Schmitt; and, secondly, Tim Tegge and his Baraboo-based Tegge Archives. And what a colossal temptation visited me! Free of normal restraints, I, a self-confessed Ringlingphile, have forced myself to err on the side of self-control. Of relevance, not redundancy. In total, there are 74 photographs. Easily, there could have been twice that many. What pleases me the most is that they are fairly spread throughout the entire work.

There is a point of no return, I believe, between a book meant to be read, really read, and one that is so photographically indulgent as to render itself virtually unreadable. Such would be the case with The Circus: 1870-1950 (one of its many titles). Its prose may be fine, for all I know. But under the sheer weight of its museumesque pretensions, and given how tiny the type font is, I haven’t the will to find out.

Some if not most of my favorite big top tomes are hardly illustrated at all: This Way to the Big Show; I Love You Honey, But the Season's Over; Bradna’s Big Top; Taylor's Center Ring; North's Circus Kings.

My personal favorite American circus history book is Earl Chapin May’s The Circus From Rome to Ringling. I think of it as being profusely illustrated in the older black and white mode, but, in fact, it bears not many more than 50-60 images. Numerous pages pass by without visuals. Somehow, its illustrations enliven it in a manner than lends the illusion of a well illustrated tome.

Jerry App’s excellent study of the Ringling brothers, Ringlingville, might have benefited by a third less photos; Some of his choices are so vague as to be barely engaging.

On the other hand, for any die-hard Ringling fan who can't ever get enough quality black and whites, perhaps no other book can touch Chappie Fox's A Ticket to the Circus: A Pictorial History of the Incredible Ringlings. Containing over 300 illustrations, yet thanks to a judicious layout respecting the printed word, the chapters, each addressing a specific topic, do not feel crowded out by photographs. It's compact size, less than 200 pages, makes it a most welcome visitor.

As for my latest, I am excited to announce that most of the Milner’s will be “first time in print” offerings. So, too, for Tanbark Tim’s. And thanks to the gracious cooperation of Phillip Thurstan at the Big Apple Circus; of documentary filmmaker Phil Weyland; and of Kelly Miller's James Royal, the contemporary scene gets fair coverage in some excellent photography.

But I don’t have Cirque King Guy Laliberte. OK, maybe he's not that much to look at, but what a power to behold. You can’t always get everything you want. Not, I suppose, unless you are willing to pay the prohibitively high reprint fees routinely charged by newspapers, magazines and various media. It’s a new world, and therein lies another example of how old media is failing to adapt. “Fair usage,” a legal concept allowing the unsanctioned fee-free publication of a small sampling of a given work, is finally flexing its populist muscles in the age of the internet and against egregiously unfair new copyright extension laws. You will see, if you scroll down through this blog, dozens of photos I’ve taken off newspapers and other media, crediting each. Not once has a news organization contacted me to cease and desist. In Cyber space, fair usage is no longer being silenced by intimidating shake-down lawyers.

Thinking back over my experience illustrating four previous circus books, I gratefully recall a few compassionate souls who made my efforts such a pleasure, who were so generous in the terms of sharing; they no doubt sensed I was not going to get rich, and I did not get rich: the charming John Hurdle at the Ringling Museum; The Russians in Moscow; Tim Tegge; The late Ringling photographer Ted Sato; Erin Foley, formerly with Circus World Museum. Add, now, Maureen Brunsdale.

My favorite photo in this, my eighth book, is a Milner, not before seen, of some young flyers on the platform at the YMCA circus in Bloomington, among them, the lean imperial figure of Bob Fisher and a giddy Gracie Genders, full of the breezy confidence of youth. Perfect find.

Ah, the thrill of the Big Catch when you go photo fishing under the big top!

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Monday Morning Takeouts: "Water for Clowns" at NY's Flea Theatre ... Circus Smirkus Goes to Press in Vermont ...

The recent film fizzle Water for Elephants, a depression-era tale of a young veterinarian student running low on tuition cash and defaulting to a creepy circus, gets attention it may not relish when a depression-era meteorologist, ruing the death of his dog, Biscuit, jumps a train and ends up with Martini Bros Circus. Not a film but a stage show titled Water for Clowns, soon to premiere at the Flea Theatre, the work of New York Goofs, a company consisting of professional clowns and clown teachers. Premise is a doozy. The dog was run over by a car driven by the parents of Water's vet student. Are you laughing? The Martini cut-ups must endure "the harsh reality of show business when a drought prohibits the use of water in their routines." Steve ... Ryan, does that resonate? How to get there if you're a tourist: Your destination is 41 White Street between Broadway and Church. Take subway lines A,C,E,R,N,4,5,6 to Canal. Run is a brief four nights, beginning August 11 ... Show sounds like it could be a comedy riot if they spoof the highly spoofable Water ... Which reminds me to make a note to myself: The next time I do Gotham, since I buy the 7-day subway pass, I'm gonna ride the rattlers all over the town, up and down, getting out here and there for brief look-around peaks, back in for another grinding tear to another Big Apple vista. The Bronx intrigues; never been there.

Speaking of clowns, here's two young jesters whose dedication impresses: Kelly-Miller's Steve Copeland and Ryan Combs have the drive, the passion, and/or the madness that marks the true pro. Not locked into same old same old shtick. No, they turn over their repertoire each season. Already, with hammer, nail, scotch tape and glue in hand, the guys are building next year's props, combing hardware outlets and flea markets, carpentering away to give their big boss, John Ringling North II, new gags and giggles. Way to go, joeys! ... But somebody should tell accident-prone Steve: Please, choose your mud puddles more carefully! It's a medical wonder his unscripted pratfalls have not landed him in reality TV, or on Dr. Oz. Reading Steve's blog, we get the sketchy impression that maybe biz is a little more than, maybe a lot more than decent. ... JRN II traveling with the show in his mobile depression-era version of the Jomar ...

Hold the presses! Extra! Extra! Read all about them! Circus Smirkus, the youth show from Vermont, has hit the summer roads with Front Page Follies: Big Top News. I surfed by serendipity into a charming You Tube of one of their recent shows, almost as much ballet as circus, classically scored, a charmer on its own gentler turf. But they also have a little muscle, yes they do! Heck, they might even possess the "strength" that Anonymous, lurking about this blog, insists is the mark of greatness. Promises press copy (thank you, Courier Covington) you can bank on "soaring flips, graceful leaps and colorful hi-jinks." Big Items include a dueling-typewriters skit (boy does that play to my keyboard addictions), a pair of loony scribes attempting to "out scoop each other." On ice cream? (Laugh, please) ... Premise sounds ingenious. Troupe numbers 29 members, ages 10 through 18. Show is now on New England tour through August, making 70 shows in 14 cities.

Out of towners wanting to see both shows? Check Travelocity for a package deal combining Water for Clowns with Tyepwriters for Tumblers ...