Stories of the traveling carnival are imbued with a certain mythological essence, and much as it does with road trip tales, travel memoirs, wagon train westerns, and memoirs of adventurous feats like climbing Everest, the secret of this essence lies in the word “traveling.” The concept speaks to people on a deep level. I doubt there are many people who could honestly say that they haven’t thought, at least once in their life, “maybe I should just pack up and hit the road.”
Once in a fit of whining about how “there is nothing new under the sun,” I read something that comforted me. “There are only two plots: someone leaves or someone arrives.” (a paraphrase of a quote often attributed to John Gardner) Travel stories like Sideshow fit an interesting space between these two “plots.” Abby is leaving her home and “going on a journey,” but she also has “arrived” at the carnival and is a stranger in their world.
Because travel is so central to the narrative and it’s themes, it was important to me that I portray it in the right way. While earlier circuses and bigger carnivals mostly traveled by rail in the United States, by the 1950s smaller carnivals such as McClure’s Amusements mainly traversed the country in trailers. This meant I got to choose some fun locations without regard to rail lines (Hence the decision to take the caravan through places like Kokomo, Indiana).
The tricky part, however, of mapping out the route McClure Amusements would take across the Midwest was the fact that in 1957, the interstate highway system had only just begun construction.
When today, you could use highways to make the trip
When Abby was adventuring, they would be using, at best, state routes. My mother used to tell me tales of her childhood Cleveland trips, which were huge undertakings akin to cross country road-trips. You packed a lunch. Today, her family could have made that trip in an hour.
The maps themselves don’t look terribly different and maybe 13 vs. 17 hours doesn’t seem like much of a trial, but keep in mind that while today you might be driving 80 miles per hour on the highways, these routes would have speed limits that topped out at 55 (most would be quite lower). Not to mention that hauling or driving a trailer, ride, or truck full of carnival supplies would slow you down and destroy your gas mileage. (And to be honest, some of those state routes were in different locations at the time. I double checked old road atlases because I am a research nerd. They just don’t scan well on the blog)
Also important were the campers themselves. The concept of the “Recreational Vehicle” or RV is so ubiquitous nowadays, that it might surprise you to learn that term wasn’t used until the 1970s. Still, people were roaming the country in campers, trailers, and “housecars” practically since the invention of the automobile. These vehicles were especially important to more nomadic people such as those who were employed by McClure’s Amusements. Being able to keep your home with you as you traveled could be a real source of comfort during their grueling travel schedule.
There were many examples of trailers available to to the performers and crew from the brand new Volkswagon Westphalia to small Empire trailers like Suprema’s. Choosing what sort of trailer I would base each character’s home-base on was a lot of fun for me. I wanted it to reflect the character’s personality, means, and needs just as well as any other aspect of the character did.
Travel is essential to Sideshow and the lives of the characters in the novel. Even though that work isn’t one of the most obvious aspects of the narrative (less so than, say, researching slang or fashion), I knew it was something that I had to consider and focus on carefully. Travel is part of us and it’s history, in many ways, is ours too.