Power and Paradise in Wall Disney's World Cher Krause Knight. Gainesville: University Press of Florida, 2014.In 1976, when Cher Krause Knight was eight years old, she made her first to Disney World, an she found transformative and often repeated. She writes, was never just another family vacation when we went to Disney World, but journey to be savored and one we continue to share (xixii). In Power and Paradise in Disney's World, Knight, an art historian, analyzes Disney World through two disparate lenses: (1) as frequent visitor with deep emotional ties to the park and (2) as an academician drawing on scholarship in American and cultural studies; sociology; visual, material, and popular culture; urban planning and environmental design; cultural anthropology; critical studies; and theology (3). It is tall order, but Knight does fine job of balancing the perspectives, offering new insights into the park and those who visit it, often time and time again. In Power and Paradise in Disney's World, Knight places Disney World in historical perspective, explaining how Disney conceived it and how it was influenced by the concept of the World's Fair, especially the 1964-65 World's Fair in New York City, which he participated in. Disney was never interested in creating an amusement park but rather destination with theme as a frame that orders narrative and shapes experience (5). He did this with Disneyland, which opened in Anaheim, California, in 1955, but he envisioned Disney World as larger, more utopian site with integrated worlds that drew upon the real but made it better, more emotionally intense, happy, and satisfying. Whereas visitors came to Disneyland for day, they would come to Disney World for longer periods of time to refuel, reflect, reconnect, and feel special. Disney World promised cleanliness, order, conformity, and fun. In chapter titled Keeping the Faith: Disney World as Pilgrimage Center, Knight argues that Disney achieved some of his loftiest aspirations, including his explicit aim to provide transcendent experiences (24). Knight compares modern Disney World journey to medieval pilgrimage to Santiago de Compostela, showing how the two places similarly use space, ritual, and function. Knight writes that Walt and his designers purposefully conceived Disney World as ritualized space for devout followers, who were conditioned beforehand to participate in rites and recognize the symbols enshrined there (30). …