Clowns

Every summer, during our holiday in Orkney, there is a moment of panic. We’re standing on a dizzying cliff – looking across a sleeve of sea at the Old Man of Hoy, maybe – and I’m consumed with a longing to fling myself over. It’s not suicidal. I just yearn to feel the wild rush of air against my cheeks: I want to fly. I’ve never met anyone who shares this compulsion, but The Book of Phobias and Manias assures me it’s quite common. Indeed, it has a name: acrophobia. Kate Summerscale understands it perfectly: ‘The whirl of vertigo,’ she says, can ‘seem like the giddiness of yearning.’ A new

What’s so serious about a red nose? How should we analyse the ‘specific socio-historical relations’ and ‘aesthetic trends particular to geographic context’ of the circus? How can we ‘codify’ equestrian performance in the ring? With the publication of The Cambridge Companion to the Circus, this artform has tumbled out of the Big Top and into the library and lecture hall. It’s a recent arrival to lofty, learned spaces. When Vanessa Toulmin of Sheffield University, widely regarded as the world’s leading expert on circus and fairground history, first ventured into academia, she did so under the guise of an ‘early film historian’, as circus wasn’t regarded as worthy of study. Now