In The Life Of Puppets Quotes

Bottom line is, even if you see 'em coming, you're not ready for the big moments. No one asks for their life to change, not really. But it does. So what are we, helpless? Puppets? No. The big moments are gonna come. You can't help that. It's what you do afterwards that counts. That's when you find out who you are.

Life doesnt need magic to be magical.

She turned her head so slowly it was like watching a puppet move. Her eyes met his. Death watched him. But Death had walked beside him every day of his life. So Cassian stroked his thumb along her palm and said, “Hello, Nes.

Until you realize how easy it is for your mind to be manipulated, you remain the puppet of someone else's game.

Which is what one always hopes will happen: for life to take over and be bigger and more marvelous than what we can dream up on our own. Life doesn’t need magic to be magical. (But a little bit sure doesn't hurt.)

They belonged to that vast group of human automata who go through life without neglecting to perform a single one of the gestures executed by the surrounding puppets.

happiness comes not from bodily pleasures or wealth or power, but from living a life that's right for your soul

It's like all my life I've been this tower standing at the edge of the ocean for some obscure purpose, and only now, almost eighteen years in, has someone thought to flip the switch that reveals that I'm not a tower at all. I'm a lighthouse. It's like waking up. I am incandescent.

True freedom is solipsism. True freedom is believing that the world will cease to exist the moment you die. True freedom is realizing that only you have free will, while the others are mere puppets, hive minds. True freedom is, therefore, nothing less than insanity.

My phone buzzes. It’s from Karou: a list of conversation openers that I won’t be needing. —a) Hi. I’m Zuzana. I’m actually a marionette brought to life by the Blue Fairy, and the only way I can gain a soul is if a human falls in love with me. Help a puppet out? —b) Hi. I’m Zuzana. The touch of my lips imparts immortality. Just sayin’. —c) Hi. I’m Zuzana. I think I might like you.

I have never in my life typed a heart symbol. Those are for milquetoast girls. Karou will probably think my phone’s been stolen – or possibly my body, by a lovelorn alien. I send the text anyway. This is what comes back: …who is this??

I want to do mysterious and improbable things alongside a fierce and beautiful girl who looks like a doll brought to life by a sorcerer.

Because all beings deserve a chance to find out what life could be when they don’t have to serve others.

My face responds without authorization from my brain, so the resulting smile feels like the biggest, most unguarded, goofiest smile I’ve ever unleashed in my entire life. I didn’t even know my face could do this. It’s like there were hidden zippers in my cheeks. Jesus. This must be what feelings are. This is why people write poems! I get it now. I get it, and I want more.

Some enter, some leave, but the show must go on while the door is still open.

Last night," the long-nosed man replied, looking surprised by her question. "You drank a barrel of wine and told me you miss cleaning for your stepsisters because at least you felt useful and stayed fit and now you're old and bored and big as a house--" "WHO ASKED YOU?" thundered the woman. "YOU SPENT HALF YOUR LIFE AS A PUPPET!

Don't become a puppet to other peoples desires, live and create your life as you intend it to be.

It is what it is because you let it be so.

Try to be "good", you'll be judged. Try to be yourself, you'll be criticized. Therefore, choose the second option. Evil uses the "nice good people" as puppets. It appears dressed as a poor guy, telling them that he needs help...When these people realize they have been used, it is already too late.

For me the world has always been more of a puppet show. But when one looks behind the curtain and traces the strings upward he finds they terminate in the hands of yet other puppets, themselves with their own strings which trace upward in turn, and so on. In my own life I saw these strings whose origins were endless enact the deaths of great men in violence and madness. Enact the ruin of a nation.

The world has become sad because a puppet was once melancholy. The nihilist, that strange martyr who has no faith, who goes to the stake without enthusiasm, and dies for what he does not believe in, is a purely literary product. He was invented by Turgenev, and completed by Dostoevsky. Robespierre came out of the pages of Rousseau as surely as the People's Palace rose out debris of a novel. Literature always anticipates life. It does not copy it, but moulds it to its purpose.

You’ve thrown down the gauntlet. You’ve brought my wrath down upon your house. Now, to prove that I exist I must kill you. As the child outlives the father, so must the character bury the author. If you are, in fact, my continuing author, then killing you will end my existence as well. Small loss. Such a life, as your puppet, is not worth living. But… If I destroy you and your dreck script, and I still exist… then my existence will be glorious, for I will become my own master.

You may claim no affiliation with them, but perhaps some have crossed your path.And perhaps you'd like to help us find them." "Oh,sure.You killed my mother. You can imagine I'm dying to help you out." Thomas manages to ignore me again. He glances at the first photo projected on the wall. "Know this person?" I shake my head. "Never seen him before." Thomas clicks the remote. Another photo pops up. "How about this one?" "Nope." Another photo. "How about this?" "Nope." Yet another stranger pops up on the wall. "Seen this girl before?" "Never seen her in my life." More unfamiliar faces. Thomas goes through them without blinking an eye or questioning my responses. What a stupid puppet of the state. I watch him as we continue, wishing I weren't chained so I could beat this man to the ground.

A self-destructive man feels completely alienated, utterly alone. He's an outsider to the human community. He thinks to himself, "I must be insane." What he fails to realize is that society has, just as he does, a vested interest in considerable losses and catastrophes. These wars, famines, floods and quakes meet well-defined needs. Man wants chaos. In fact, he has to have it. Depression, strife, riots, murder - all this dread. We're irresistibly drawn to that almost orgiastic state created out of death and destruction. It's in all of us. We revel in it. Sure, the media tries to put a sad face on these things and paints them up as great human tragedies. But we all know the function of the media has never been to eliminate the evils of the world - no! Their job is to persuade us to accept those evils and get used to living with them. The powers that be want us to be passive observers, and they haven't given us any other options outside the occasional, purely symbolic, participatory act of voting. "You want the puppet on the right or the puppet on the left?" I feel that the time has come to project my own inadequacies and dissatisfactions into the sociopolitical and scientific schemes, let my own lack of a voice be heard.

Everyone who loves pro basketball assumes it's a little fixed. We all think the annual draft lottery is probably rigged, we all accept that the league aggressively wants big market teams to advance deep into the playoffs, and we all concede that certain marquee players are going to get preferential treatment for no valid reason. The outcomes of games aren't predeteremined or scripted but there are definitely dark forces who play with our reality. There are faceless puppet masters who pull strings and manipulate the purity of justice. It's not necessarily a full-on conspiracy, but it's certainly not fair. And that's why the NBA remains the only game that matters: Pro basketball is exactly like life.

What was most important in Epicurus’ philosophy of nature was the overall conviction that our life on this earth comes with no strings attached; that there is no Maker whose puppets we are; that there is no script for us to follow and be constrained by; that it is up to us to discover the real constraints which our own nature imposes on us.

Socrates- he believed that happiness comes not from bodily pleasures or wealth or power, but from living a life that's right for your soul.

Order is the Shire of Tolkien’s hobbits: peaceful, productive and safely inhabitable, even by the naive. Chaos is the underground kingdom of the dwarves, usurped by Smaug, the treasure-hoarding serpent. Chaos is the deep ocean bottom to which Pinocchio voyaged to rescue his father from Monstro, whale and fire-breathing dragon. That journey into darkness and rescue is the most difficult thing a puppet must do, if he wants to be real; if he wants to extract himself from the temptations of deceit and acting and victimization and impulsive pleasure and totalitarian subjugation; if he wants to take his place as a genuine Being in the world.

But more than anything, as a little girl, I wanted to be exactly like Miss Piggy. She was ma heroine. I was a plucky little girl, but I never related to the rough-and-tumble icons of children's lit, like Pippi Longstocking or Harriet the Spy. Even Ramona Quimby, who seemed cool, wasn't somebody I could super-relate to. She was scrawny and scrappy and I was soft and sarcastic. I connected instead to Miss - never 'Ms.' - Piggy; the comedienne extraordinaire who'd alternate eye bats with karate chops, swoon over girly stuff like chocolate, perfume, feather boas or random words pronounced in French, then, on a dmie, lower her voice to 'Don't fuck with me, fellas' decibel when slighted. She was hugely feminine, boldly ambitious, and hilariously violent when she didn't get way, whether it was in work, love, or life. And even though she was a pig puppet voiced by a man with a hand up her ass, she was the fiercest feminist I'd ever seen.

What a good drone. My beautifully destroyed puppet.

I'd rather be a free man in my grave, than to live life as a puppet or a slave

Which is what one always hopes will happen: for life to take over and be bigger and more marvelous than what we can dream up on our own.

What are the unreal things, but the passions that once burned one like fire? What are the incredible things, but the things that one has faithfully believed? What are the improbable things? The things that one has done oneself. No, Ernest; life cheats us with shadows, like a puppet- master. We ask it for pleasure. It gives it to us, with bitterness and disappointment in its train. We come across some noble grief that we think will lend the purple dignity of tragedy to our days, but it passes away from us, and things less noble take its place, and on some grey windy dawn, or odorous eve of silence and of silver, we find ourselves looking with callous wonder, or dull heart of stone, at the tress of gold-flecked hair that we had once so wildly worshipped and so madly kissed.

As a fact, we cannot give suffering precedence in either our individual or collective lives. We have to get on with things, and those who give precedence to suffering will be left behind. They fetter us with their sniveling. We have someplace to go and must believe we can get there, wherever that may be. And to conceive that there is a 'brotherhood of suffering between everything alive' would disable us from getting anywhere. We are preoccupied with the good life, and step by step are working toward a better life. What we do, as a conscious species, is set markers for ourselves. Once we reach one marker, we advance to the next — as if we were playing a board game we think will never end, despite the fact that it will, like it or not. And if you are too conscious of not liking it, then you may conceive of yourself as a biological paradox that cannot live with its consciousness and cannot live without it. And in so living and not living, you take your place with the undead and the human puppet.

Depressive ontology is dangerously seductive because, as the zombie twin of a certain philosophical wisdom, it is half true. As the depressive withdraws from the vacant confections of the lifeworld, he unwittingly finds himself in concordance with the human condition so painstakingly diagrammed by a philosopher like Spinoza: he sees himself as a serial consumer of empty simulations, a junky hooked on every kind of deadening high, a meat puppet of the passions. The depressive cannot even lay claim to the comforts that a paranoiac can enjoy, since he cannot believe that the strings are being pulled by any one. No flow, no connectivity in the depressive’s nervous system.

Jeb and Morpheus have landed and are rounding up the toys they marked—the ones that got by me and Mom. Morpheus uses blue magic to walk the zombies like puppets toward Jeb, who then swings a golf club, driving them into a net they’ve propped open. Leave it to guys to make a game out of a life-and-death situation. 

Beauty is one of the great facts of the world, like sunlight,or springtime, or the reflection in dark waters of that silver shell we call the moon. You have only a few years in which to live really, perfectly, and fully. When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you...Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed...Ah! realise your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless, or giving away your life to the ignorant, the common, and the vulgar...Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing...The world belongs to you for a season...how tragic it would be if you were wasted. For there is such a little time that your youth will last. The common hillflowers wither, but they blossom again. The laburnum will be as yellow next June as it is now. In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty, becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to...Youth! Youth! There is absolutely nothing in the world but youth.

He witnessed the destruction of everything he had ever created. These are the crippled pieces, the faces that he was stuck with; a puppet show that he could not get out of, all the strings tangled, the dead attached to the living.

In these moments of tête-à-tête with the infinite, how different life looks! How all that usually occupies and excites us becomes suddenly puerile, frivolous, and vain. We seem to ourselves mere puppets, marionettes, strutting seriously through a fantastic show, and mistaking gewgaws for things of great price.

From that awful encounter of the soul with the outer world, enunciation, wisdom, and charity are born; and with their birth a new life begins. To take into the inmost shrine of the soul the irresistible forces whose puppets we seem to be - Death and change, the irrevocableness of the past, and the powerlessness of Man before the blind hurry of the universe from vanity to vanity - to feel these things and know them is to conquer them.

When in the puppet-show of dreams we hold in hand the strings of quite a number of actors, controlling their actions and their speech, we are not aware of this being so. Only one of them is myself, the dreamer. In him I act and speak immediately, while I may be awaiting eagerly and anxiously what another one will reply

Looking back on his life, he sees himself spread out on the earth like a giant covered in tiny threads that have held him down. Tiny threads of petty cares and small concerns, and fears he took seriously at the time. Debts, timetables, the need for money, the longing for comfort; the earworm of sex, repeating itself over and over like a neural feedback loop. He’s been the puppet of his own constricted desires.

The Wetheralls always went to church. They belonged to the vast group of human automata who go through life without neglecting to perform a single one of the gestures executed by the surrounding puppets.

No, you don't feel it now. Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with itshideous fires, you will feel it, you will feel it terribly.Now, wherever you go, you charm the world. Will it always be so? . . . You have a wonderfully beautiful face, Mr. Gray. Don't frown. You have. And beauty is a form of genius-- is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it.You smile? Ah! when you have lost it you won't smile. . . . People say sometimes that beauty is only superficial.That may be so, but at least it is not so superficial as thought is. To me, beauty is the wonder of wonders.It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible. . . . Yes, Mr. Gray, the gods have been good to you.But what the gods give they quickly take away. You have only a few years in which to live really, perfectly, and fully.When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats.Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days,listening to the tedious, trying to improve the hopeless failure,or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals,of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing. . . . A new Hedonism-- that is what our century wants. You might be its visible symbol.With your personality there is nothing you could not do.The world belongs to you for a season. . . . The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be. There was so much in you that charmed me that I felt I must tell you something about yourself.I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last--such a little time.The common hill-flowers wither, but they blossom again.The laburnum will be as yellow next June as it is now.In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth!

Fuck I hate fucks Who think they’re so fucking great They know everything about fucking, When they’re just fucking fucks fucking! And no one changes the fucking world When they keep fucking to another fuck’s fuck.

So when the ruling ideology enjoins us to enjoy sex, not to feel guilty about it, since we are not bound by any prohibitions whose violations should make us feel guilty, the price we pay for this absence of guilt is anxiety.

He wondered about the people in houses like those. They would be, for example, small clerks, shop-assistants, commercial travellers, insurance touts, tram conductors. Did they know that they were only puppets dancing when money pulled the strings? You bet they didn’t. And if they did, what would they care? They were too busy being born, being married, begetting, working, dying. It mightn’t be a bad thing, if you could manage it, to feel yourself one of them, one of the ruck of men. Our civilization is founded on greed and fear, but in the lives of common men the greed and fear are mysteriously transmuted into something nobler. The lower-middle-class people in there, behind their lace curtains, with their children and their scraps of furniture and their aspidistras — they lived by the money-code, sure enough, and yet they contrived to keep their decency. The money-code as they interpreted it was not merely cynical and hoggish. They had their standards, their inviolable points of honour. They ‘kept themselves respectable’— kept the aspidistra flying. Besides, they were alive. They were bound up in the bundle of life. They begot children, which is what the saints and the soul-savers never by any chance do. The aspidistra is the tree of life, he thought suddenly.

Losing a belief in free will has not made me a fatalist - in fact, it has increased my feelings of freedom. My hopes, fears, and neuroses seem less personal and indelible. There is no telling how much I might change in the future. Just as one wouldn't draw a lasting conclusion about oneself on the basis of a brief experience of indigestion, one needn't do so on a basis of how one has thought or behaved for vast stretches of time in the past. A creative change of inputs to the system - learning new skills, forming new relationships, adopting new habits of attention - may radically transform one's life. Becoming sensitive to the background causes of one's thoughts and feelings can -paradoxically- allow for greater creative control over one's life. This understanding reveals you to be a biochemical puppet, of course, but it also allows you to grab hold of one of your strings.

Holland stared at his own hand, the knife’s edge crimson. They left they body where it fell. And brought another in. “No,” snarled Holland at the sight of him. A boy from the kitchens, hardly fourteen, who looked at him with wide, uncertain eyes. “Help,” he begged. Then they brought another. And another. One by one, Athos and Astrid paraded the remains of Vor’s life before Holland, instructing him again and again to cut their throats. Every time, he tried to fight the order. Every time, he failed. Every time, he had to look them in their eyes and see the hatred, the betrayal, the anguished confusion before he cut them down. The bodies piled. Athos watched. Astrid grinned. Holland’s hand moved on its puppet string. And his mind screamed until it finally lost its voice.

Because being broken is how you’re going to survive this life,

If your treated like a puppet find a new ball of string

And… it’s like all my life I’ve been this tower standing at the edge of the ocean for some obscure purpose, and only now, almost eighteen years in, has someone thought to flip the switch that reveals that I’m not a tower at all. I’m a lighthouse.

I call the polar opposites to Wrong Planet people Rag, Tag & Bobtail because they’re really nothing but glove puppets. Their heads are little more than hollow wood and at times they seem to be controlled by strings and rods and levers with invisible hands inside them making them ‘perform.’ Most glove puppets have fixed facial expressions and a hinged mouth, giving them a dull, lifeless expression.

Her entire life was obeying orders. She’d left her Father behind, only to fall into the hands of another dictator. Was her life her own anymore, or was she a puppet on a string, dancing to Ryan’s tune?

We get paid to hang out in this beautiful court! Four puppets on a string, just like those two up there (pointing to the two hanging puppets), waiting for someone to jerk them into life and make them talk.

Soph, I really don't think this is a good idea. I'm at a point in my life where dating is more hazardous than helpful." She held her hand up and made it move like a chattering puppet. "Blah, blah, blah, blah, blah, blah. Say what you want. We had a deal. I picked a guy for you to talk to. Now you're gonna sashay your fanny over there and be the very definition of charming and beguiling." "Shows what you know," I grumbled under my breath. "I don't even know what beguiling means.

Flidais nods in approval. “Respect for life. Good.” I want to ask where her respect for life is, why she thinks it is all right to treat animals like puppets and force me to kill one of them in some sort of sick game.

...most of us build prisons for ourselves and after we occupy them for a period of time we become accustomed to their walls and accept the false premise that we are incarcerated for life. As soon as that belief takes hold of us we abandon hope of ever doing more with our lives and of ever giving our dreams a chance to be fulfilled. We become puppets and begin to suffer living deaths. It may be praiseworthy and noble to sacrifice your life to a cause or a business or the happiness of others, but if you are miserable and unfulfilled in that lifestyle, and know it, then to remain in it is a hypocrisy, a lie, and a rejection of the faith placed in you by your creator.

Thora looks down at her fingers, the rope-like tendons controlling the poor puppet of her body. 'I wish I was more like you. I wish I could see a meaning.' 'I don't see it. I look for it.' His voice is quiet. 'You think it's easy. You think it--comes naturally to me. But it doesn't. I choose it. Every single time.

Don’t cast pearls before swine, as the old saying goes. And you might think that’s harsh. But training your child not to sleep, and rewarding him with the antics of a creepy puppet? That’s harsh too. You pick your poison, and I’ll pick mine.

Often he had the impression that the person answering questions from the scratchy armchair was a dummy he was controlling, that this had been true throughout his life, and that his life had become so involved with operating the dummy that he, the ventriloquist, had ceased to have a personality, becoming just an arm stuffed up the puppet's back.

happiness comes not from bodily pleasures or wealth or power, but from living a life that’s right for your soul.

philosopher called Socrates. He believed that happiness comes not from bodily pleasures or wealth or power, but from living a life that’s right for your soul.

Had you not been born, you would not know that it is like to be alive, and without life, death is impossible to understand.

We are but puppets Our strings in His hands Knowing not where he will take us With naked feet we walk on life’s sands…

It is possible to be a puppet on a string without fully realising it.

A life as a puppet is no life at all.

Life doesn’t need magic to be magical. (But a little bit sure doesn't hurt.)

The puppet masters only concern is how well they can manipulate their marionettes.

Because, once you find them, there is no life without them.

Solitude, I reflected, is the one deep necessity of the human spirit to which adequate recognition is never given in our codes. It is looked upon as a discipline or a penance, but hardly ever as the indispensable, pleasant ingredient it is to ordinary life, and from this want of recognition come half our domestic troubles...Modern education ignores the need for solitude: hence a decline in religion, in poetry, in all the deeper affections of the spirit: a disease to be doing something always, as if one could never sit quietly and let the puppet show unroll itself before one: an inability to lose oneself in mystery and wonder while, like a wave lifting us into new seas, the history of the world develops around us.

I had concluded that I no longer shared her faith in a God who controlled the universe like a puppet master pulling and tugging strings and making us all dance. Our lives, I believed, were more like billiard balls on a pool table, ricocheting randomly with the impact of the cue ball. To believe otherwise was to believe that a God to whom my mother had devoted her life had responded by striking down her husband and causing her so much pain. I couldn’t accept that.

Seize the night. And I blink and feel a surge of certainty and excitement, because of course that's what one does when one wants something. One seizes it. Well, maybe not all things. Cats, for example, do not respond well to seizure. Probably girls don't, either. So this might not be a good credo in life, but for Saturday nights in general and this one in particular, it works.

I’m not forcing you to do anything. You need to make your own damn decisions . And I'm not playing this game where we ignore reality and pretend to have a normal conversation for a few hours. You need to face reality and stop turning life into a movie. I'm not a puppet in your show. This is real life and you're always trying to ignore it for some cheap fantasy version where no problems exist. That's not noble of you, okay? You're not strong. You're a weak person like the rest of us. You've just learned to excel at avoiding issues. But there are issues . Life has so many freaking issues and if you can't force your own self to face life and make decisions without someone telling you what the hell to do, you're just going to end up another chess piece moved around by others.

Moments like that, I thought maybe there was a God, a fickle puppet-master who decided it was time to remind us that life isn't just an echo of the Big Bang - that we're here, with beating hearts.

You can control how you treat people, but you cannot actually control what they think. The idea that behaving a certain way will elicit a certain response is a delusion that will keep you puppeteering through your life. It will distance you from the person you want to be and the life you want to live.

Sometimes I like to think I live with ghosts. Not from my past, but wispy bits of ideas and books that hang in the air like silk puppets. Sometimes I think I see my own ideas, floating around too, but they usually don't last that long. They're more like mayflies; they're born, big and gleaming, and then they fly around, buzzing like crazy before they fall to the floor, dead, about twenty four hours later.

If “atheophobia” denotes the violent criticism of atheism, I invite my Bible-thumping friends to sign up without fear for their safety. Don’t reserve your insults to Reason for the privacy of those tombs of thought you call temples, churches, synagogues, and mosques! Publish newspapers and blogs, stage plays and puppet shows, to mock what you see as the absurdity of life without God, of life without your Supreme Blankie!

He’s fucking the life out of me, quite literally, because I can feel myself losing consciousness every now and then, but I notice how he loosens his grip every few seconds too, as if to give me little cracks of air.

A thinking puppet is the mind of life: Its choice is the work of elemental strengths That know not their own birth and end and cause And glimpse not the immense intent they serve. In this nether life of man drab-hued and dull, Yet filled with poignant small ignoble things, The conscious Doll is pushed a hundred ways And feels the push but not the hands that drive. For none can see the masked ironic troupe To whom our figure-selves are marionettes, Our deeds unwitting movements in their grasp, Our passionate strife an entertainment’s scene.

I’ve been labeled before. I’m supposed to be a jock and then a brain and then one of those music/theater people. I guess I like to keep surprising people. But what kind of life can you live in a tiny square box? My personality is less narrow. I like a lot of different things. But still, people like to be able to put you in a category, to be able to place you in even rows and put a sign at the front. They think the best you can achieve is being at the front of your row…but why not form your own row? Isn’t that the definition of being a leader? Maybe taking charge means something different nowadays. How come lately people think you’re a leader just because you happen to be at the front of the line? A good leader need only point the way and watch as others follow a direction, not a figure. A great leader can lead without anyone ever knowing it. A spectacular leader can lead without ever knowing it themselves. The person at the front of the line is the puppet of someone that you couldn’t name because someone else pointed the way. I must have missed something. I thought being a follower was letting other people shape your life. I thought it meant letting other people decide who you were going to be. I won’t conform. I won’t let people class me. Because once you’re there you’re stuck. I will be whoever I want to be, and no one can stop me. I have something they don’t have, which is nothing to lose. I have my entire life to live and I intend to live it the way I would like to live. I will form my own row. I will point in a new direction. If that means going against other peoples’ opinion of normal, then so be it. Who says normal is right? Normal certainly strikes me as a boring way to live my life.

Buster was not used to this experience, physical desire that was actually fulfilled. In his entire life, he had kissed five women. One of them had been his sister. This was, Buster understood, a terrible percentage. He could count on one hand the number of times he'd had sex and still have enough fingers left over to make complicated shadow puppets.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

The sovereignty of God matters to Christianity, and we could go as far as to say that it is un-Christian to deny the sovereignty of God. The prosperity gospel certainly denies the sovereignty of God to the extent that it demeans God to the position of a puppet and elevates man to the position of a puppet master who makes confessional demands by faith. It does this by considering faith as a force and God as the one who must respond to our faith. This is a heretical twisting of true faith.

It is genes that allow the human mind to learn, to remember, to imitate, to imprint, to absorb culture, and to express instincts. Genes are not puppet masters or blueprints. Nor are they just the carriers of heredity. They are active during life;

If we can fix what's broken, we should always try." "Why?" Rambo asked. Vic chose his words carefully, trying to find the right ones in the right order. "Because all beings deserve a chance to find out what life could be when they don't have to serve others.

Of course, he didn't know anything about these Indonesians, or why they would have been there at this moment to save his life, but the fact that they had guns and weren't firing them at him implied that for the moment, at least, they were his dearest friends.

Our world is full of submissive activities. Shopping is submissive. You wander around buying the things the controllers have placed in front of you. Watching TV is submissive. You watch fictional lives rather than live your own life. Playing video games is submissive. You sit there shooting up the world (in virtual reality), while having no impact at all on actual reality. It’s easy to be a virtual hero, hard to be a real one. One involves no work, and the other is as hard as it gets. Video games are an avoidance of the real world. Voting is submissive too – you delegate your authority to one of the puppets of the controllers. Dominants are active, not passive. They DO. They ACT. They MOVE. They CHOOSE. They DECIDE. They are NOT CONTROLLED by the system. They are FREE. So, what are you?

There are many low points in a woman’s life, but when a bloke who’s been within a hair’s breadth of getting his hand down your knickers decides that he’s rather watch a children’s sci-fi programme made with puppets fifty years ago, you can’t get much lower. Just saying.

Take it easy. Nothing you do matters as much as you think. Your greatest achievements aren’t yours at all, they’re accidents and jokes. You’re a puppet, the universe does the work, and it gets the most done when you’re moving the least. Surrender, flow, relax. Don’t be hard on yourself, don’t put pressure on yourself, life is just a chain of experiments and results, and you’ll be perfect when you’re dead.

The common hill-flowers wither, but they blossom again. The laburnum will be as yellow next June as it is now. In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fall, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to.

There we go,” he said cheerfully, after he’d started up a fire. The two puppets, still huddled in his pockets, woke up when they felt the heat of the flames, and they scampered out of sight, squealing for dear life. Oliver laughed. “I’m not going to set you on fire. Come back here.

Helen in those days was over-interested in the subconscious self. She exaggerated the Push and Judy aspect of life, and spoke of mankind as puppets, whom an invisible showman twitches into love and war. Margaret pointed out that if she dwell on this she, too, would eliminate the personal

Nazi party had brainwashed men just like Möckel who were neither intelligent nor charismatic. He was a lackluster nobody, and Hitler’s minions had whispered in his ear that his deficiencies weren’t his fault after all. If the Jews were to blame for everything, Möckel and men like him could believe themselves entitled to everything they’d ever wanted. They’d been made into puppets, as stupid men often were, and still they had no idea.

Nesta,' he said into her ear. 'Nesta, open your hand and come back.' Her breathing sharpened. The cold deepened. 'Nesta,' he snarled- And the cold halted. It didn't vanish, but rather... stopped. Nesta's eyes flicked open. Silver fire burned within. Nothing Fae looked out through them. Rhys shoved Feyre behind him. She shoved her way back to his side. But Nesta's hand continued to squeeze Cassian's. He squeezed back, let his Siphons send a bite of power into her skin. She turned her head so slowly it was like watching a puppet move. Her eyes met his. Death watched him. But Death had walked beside him every day of his life. So Cassian stroked his thumb along her palm and said, 'Hello, Nes.' Nesta blinked, and he let his Siphons bite her with his power again. The fire flickered. He nodded to the map, 'Let go of the stones and bones.' He didn't let her scent his fear. Here was the being the Bone Carver had whispered about, exalted and feared. 'Let go of the stones and bones, and then you and I can play.

He wanted to live life so intensely that he could die at any moment without regrets. But still, out of deference to his adoptive parents and his aunt, he kept himself in check. This created both light and dark sides to his life. Seeing a comic puppet in a Western tailor’s shop made him wonder how close he himself was to such a figure. His self beyond consciousness, however – his ‘second self’ – had long since put such feelings into a story.

No one needs a relationship. What you need is the basic cop-on to figure that out, in the face of all the media bullshit screaming that you're nothing on your own and you're a dangerous freak if you disagree. The truth is, if you don't exist without someone else, you don't exist at all. And that doesn't just go for romance. I love my ma, I love my friends, I love the bones of them. If any of them wanted me to donate a kidney or crack a few heads, I'd do it, no questions asked. And if they all waved goodbye and walked out of my life tomorrow, I'd still be the same person I am today. I live inside my own skin. Anything that happens outside it doesn't change who I am. This isn't something I'm proud of; as far as I'm concerned, it's a bare minimum baseline requirement for calling yourself an adult human being, somewhere around the level of knowing how to do your own washing or change a toilet roll. All those idiots on the websites, begging for other people to pull their sagging puppet-strings, turn them real: they make me want to spit.

Our eyes meet. And…it’s like all my life I’ve been this tower standing at the edge of the ocean for some obscure purpose, and only now, almost eighteen years in, has someone thought to flip the switch that reveals that I’m not a tower at all. I’m a lighthouse. It’s like waking up. I am incandescent.

So, too, with the caste system as it goes about its work in silence, the string of a puppet master unseen by those whose subconscious it directs, its instructions an intravenous drip to the mind, caste in the guise of normalcy, injustice looking just, atrocities looking unavoidable to keep the machinery humming, the matrix of caste as a facsimile for life itself and whose purpose is maintaining the primacy of those hoarding and holding tight to power.

Some people believe in Fate, others don't. I do, and I don't. It may seem at times as if invisible fingers move us above like puppets on strings. But for sure, we are not born to be dragged along. We can grab the strings ourselves and adjust our course at every crossroad, or take off at any little trail into the unknown.

What emotion had filled the breast of Christ when he ordered away the man who was to betray him for thirty pieces of silver. Was it anger? or resentment? Or did these words arise from his love? If it was anger, then at this instant Christ excluded from salvation this man alone of all the men in the world; and then our Lord allowed one man to fall into eternal damnation. But it could not be so. Christ wanted to save even Judas. If not, he would have never made him one of his disciples. And yet why did Christ not stop him when he began to slip from the path of righteousness? This was a problem I had not understood even as a seminarian......If it is not blasphemous to say so, I have the feeling that Judas was no more than the unfortunate puppet for the glory of that drama which was the life and death of Christ.

There he stood, already beyond my reach, my father, the center of my life, just labeled JEW. A shrill whistle blew through the peaceful afternoon. Like a puppet a conductor lifted a little red flag. Chug-chug-chug –puffs of smoke rose. The train began to creep away. Papa’s eyes were fixed upon us. He did not move. He did not wave. He did not call farewell. Unseen hands were moving him farther and farther away from us. We watched until the train was out of sight. I never saw my father again.

With free will comes bad decisions; decisions to drink and drive and kill someone’s child. Decisions to murder. Decisions to choose whom we love, whom we spend our life with. If God decided to never let anything bad happen to people, he would have to take away their free will. He would become the dictator and they would be his puppets.

My dear Lord Krishna, you are so kind upon this useless soul, but I do not know why you have brought me here. Now you can do whatever you like with me. But I guess you have some business here, otherwise why would you bring me to this place? Somehow or other, O Lord, You have brought me here to speak about you. Now, my Lord, it is up to you to make me a success or failure as you like. O spiritual master of all the worlds. I can simply repeat your message; so if you like you can make my power of speaking suitable for their understanding. Only by Your causeless mercy will my words become pure. I am sure that when this transcendental message penetrates their hearts they will certainly feel engladdened and thus become liberated from all unhappy conditions of life. O Lord, I am just like a puppet in your hands. So if you have brought me here to dance, then make me dance, make me dance, O Lord, make me dance as you like. I have no devotion, nor do I have any knowledge, but I have strong faith in the holy name of Krishna. I have been designated as Bhaktivedanta, one who possesses devotion and knowledge, and now, if you like, you can fulfill the real purport of Bhaktivedanta. Signed, the most unfortunate, insignificant beggar, A.C. Bhaktivedanta Swami, On board the ship Jaladuta, Commonwealth Pier, Boston, Massachusetts, U.S.A. 18th of September, 1965

How fragile life was, she thought, how unpredictable. We flatter ourselves, thinking we are actors on a stage, geniuses who write our own plays, extemporize our words, and shift major plot lines and the most subtle of nuances at our every whim. Perhaps wooden Bunraku puppets feel the same way. They do not notice the puppeteers who guide their every move.

You never see a fat ventriloquist. Pepper was of the mind that this reflected the parasitic nature of the relationship, wherein the puppet leeches the life essence of the puppeteer. Which gave him an idea for a diet craze: the mass adoption of puppet sidekicks. Send the price of lumber through the roof. From time to time his mind turned to business ventures.

It was too long since each had discarded his own will, his own opinion, even his own feelings; now they sat like marionettes abandoned by their puppeteer.

Happiness comes not from bodily pleasures or wealth or power, but from living a life that's right for your soul.

Masquerade of scripted lives, A perfect play unfolds. Masquerade of scripted... Strings are being pulled. Masquerade of… Awakened to the truth.

None of it was fair. You spend your adulthood trying to craft a life that feels as safe as early childhood, but the world yanks you farther and farther away.

beings deserve a chance to find out what life could be when they don’t have to serve others.

I mean, what does a devil want but to find meaning in life after a long journey of turmoil and troubles?

I played the best role in my life. I had a great director.

It is possible to be a puppet on a string, controlled by hidden forces.

So you’re coming along with me, increasing our risk of being identified and allowing Achilles to get his two worst nemeses with one well-placed bomb, in order to save my life?

we are like puppets synchronized by god........

Without time management, you lose control of your life and do what other people tell you to do. You lose control and become a puppet that everyone can control and manipulate.

They belonged to the vast group of human automata who go through life without neglecting to perform a single one of the gestures executed by the surrounding puppets.

He believed that happiness comes not from bodily pleasures or wealth or power, but from living a life that’s right for your soul.

All beings deserve a chance to find out what life could be when they don’t have to serve others.

believed that happiness comes not from bodily pleasures or wealth or power, but from living a life that’s right for your soul.

Her continued devotion in the face of all that had happened amazed me, but at this point I had concluded that I no longer shared her faith in a God who controlled the universe like a puppet master pulling and tugging strings and making us all dance. Our lives, I believed, were more like billiard balls on a pool table, ricocheting randomly with the impact of the cue ball.

Do. Not. Look at her with your nasty fucking gaze. If you so much as think about her again, I’ll shove that hand so far up your ass you’ll be your own puppeteer for the rest of your fuckin’ life.

I think I am trying to clear my head of all the junk in there—the assholes, the flags, the underpants. Yes—there is a picture in this book of underpants. I'm throwing out characters from my other books, too. I'm not going to put on any more puppet shows. I think I am trying to make my head as empty as it was when I was born onto this damaged planet fifty years ago. I suspect that this is something most white Americans, and nonwhite Americans who imitate white Americans, should do. The things other people have put into my head, at any rate, do not fit together nicely, are often useless and ugly, are out of proportion with one another, are out of proportion with life as it really is outside my head. I have no culture, no humane harmony in my brains. I can't live without a culture anymore.

At my age, one realizes that time is a cruel and fickle master, for the more you want it, the faster it appears to vanish, and vice versa: the more you want to escape it, the more stagnant it becomes. We are its slaves—or its puppets, if you prefer—and it moves or paralyzes us at its whim. Today, for instance, I would like to reach the end of this story, so I wish I could have more time—that time would slow down. You, on other hand, might want this old man you’ve just met to be quiet so that you can put on your music or think about something else, so perhaps your journey is taking forever. But let me tell you what I know, what I’ve concluded: it doesn’t matter whether time passes slowly or quickly. What you can be sure of is that, in the end, all you want is to have more. More of those lazy afternoons when nothing happens, despite your best efforts to the contrary. More of those annoying arms that picked you up to stop you doing something crazy. More tellings-off from the mother who you thought was a nag. More glimpses, even, of your father hurrying somewhere, always busy. More soft embraces from the wife who loved you all your life, and more trusting looks from your children’s young eyes.

I don’t want to go,” Zuzana admitted in a small voice. “Back to tourists and angel cults and puppets and real life?” She was whining and she knew it. “I want to make monsters and do magic and help Karou.

She was a puppet, and the men in her life held the strings. Elyse swore to give everything into being a mage so she could cut those strings. No husband, father, friend, or king would decide for her again.

I was acutely aware of him, and the thought that he was walking me back to my room and would most likely try to kiss me again sent shivers down my spine. For self-preservation purposes, I had to get away. Every minute I spent with him just made me want him more. Since merely annoying him wasn’t working, I’d have to up the ante. Apparently, I needed him not only to fall out-of-like with me, but to hate me as well. I’d frequently been told that I was an all-or-nothing kind of girl. If I were going to push him away, it was going to be so far away that there would be absolutely no change of him ever coming back. I tried to wrench my elbow out of his grasp, but he just held on more tightly. I grumbled at him, “Stop using your tiger strength on me, Superman.” “Am I hurting you?” “No, but I’m not a puppet to be dragged around.” He trailed his fingers down my arm and took my hand instead. “Then you play nice, and I will too.” “Fine.” He grinned. “Fine.” I hissed back. “Fine!” We walked to the elevator, and he pushed the button to my floor. “My room is on the same floor,” Ren edxplained. I scowled and then grinned lopsidedly and just a little bit evilly, “And umm, how exactly is that going to work for you in the morning, Tiger? You really shouldn’t get Mr. Kadam in trouble for having a rather large…pet.” Ren returned my sarcasm as he walked me to my door. “Are you worried about me, Kells? Well, don’t. I’ll be fine.” “I guess there’s no point in asking how you knew which door belong to me, huh, Tiger Nose?” He looked at me in a way that turned my insides to jelly. I spun around but awareness of him shot through my limbs, and I could feel him standing close behind me watching, waiting. I put my key in the lock, and he moved closer. My hand started shaking, and I couldn’t twist the key the right way. He took my hand and gently turned me around. He then put both hands on the door on either side of my head and leaned in close, pinning me against it. I trembled like a downy rabbit caught in the clutches of a wolf. The wolf came closer. He bent his head and began nuzzling my cheek. The problem was…I wanted the wolf to devour me. I began to get lost in the thick sultry fog that overtook me every time Ren put his hands on me. So much for asking for permission…and so much for sticking to my guns, I thought as I felt all my defenses slip away. He whispered warmly, “I can always tell where you are, Kelsey. You smell like peaches and cream.” I shivered and put my hands on his chest to push him away, but I ended up grabbing fistfuls of shirt and held on for dear life. He trailed kisses from my ear down my cheek and then pressed soft kisses along the arch of my neck. I pulled him closer and turned my head so he could really kiss me. He smiled and ignored my invitation, moving instead to the other ear. He bit my earlobe lightly, moved from there to my collarbone, and trailed kisses out to my shoulder. Then he lifted his head and brought his lips about one inch from mine and the only thought in my head was…more. With a devastating smile, he reluctantly pulled away and lightly ran his fingers through the strands of my hair. “By the way, I forgot to mention that you look beautiful tonight.” He smiled again then turned and strolled off down the hall.

This cat book is an allegory, in which the writer's past life is presented to him in a cat charade. Not that the cats are puppets. Far from it. They are living, breathing creatures, and when any other being is contacted, it is sad: because you see the limitations, the pain and fear and the final death. That is what contact means. That is what I see when I touch a cat and find that tears are flowing down my face.

Puppets do not have thoughts, they are more like our thoughts, images of our thoughts, as if our minds were populated with remnants of the older, more cliched stories that we manipulate and that manipulate us.

Everything I’ve previously attempted in my life was child’s play compared to this. The pathway I’m walking is not just riddled with all manner of uncertainty; it’s also excruciatingly difficult to follow through! How do I know this is the right path for me, when it’s been costing me every ounce of willpower just to stay on track? How do I tell what my purpose is?’ ‘THIS is how you know it, Mario. This moment right here!’ Amanita had told him. ‘If the path you are walking feels back-breaking and steep, know you are climbing the Mountain of Purpose. The more you sacrifice on your journey, the more valuable its end reward.

A puppet is a device for driving the personality out of the body and allowing a spirit to take control.... Puppets have no freedom, but they give the puppeteer freedom. They have no life, but they live forever.

The prosperity gospel certainly denies the sovereignty of God to the extent that it demeans God to the position of a puppet and elevates man to the position of a puppet master who makes confessional demands by faith.

Most of my life I’ve felt I was dreaming. Now and then I wake up, sometimes for months, sometimes for minutes. I’m a character in a play, and I can’t tell if I’m making it up or if a great puppeteer is making me dance.

I stood there with the rifle in my hands, that I first grasped the hallowness, the futility of the white man with his gun, standing in front of the unarmed native crowd --- seemingly the leading actor of the piece ; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of sahib. For it is the condition of his rule that he shall spend his life in trying to impress the "natives", and so in every crises he has got to do what the "natives" expect of him.

you feel what else is there to do in life apart from living? And even that is out of your control; it depends on an infinite number of factors. Everything is in your unconscious mind. Why sex desire arose in you, why you raised a family, how greed and anger entered you, why you were dishonest, why you accumulated wealth, why you made enemies – you have no idea! You are just like a puppet, whose strings are being pulled by someone else. You imagine you are dancing, but in fact it is someone else who is making you dance. Look closely at your life and you will find that you are nothing more than a puppet. How can anything real happen in the life of a man who is not his own master, but merely a puppet?

A Clock Stopped -- Not The Mantel's A clock stopped -- not the mantel's Geneva's farthest skill Can't put the puppet bowing That just now dangled still. An awe came on the trinket! The figures hunched with pain, Then quivered out of decimals Into degreeless noon. It will not stir for doctors, This pendulum of snow; The shopman importunes it, While cool, concernless No Nods from the gilded pointers, Nods from seconds slim, Decades of arrogance between The dial life and him.

A thinking puppet is the mind of life: Its choice is the work of elemental strengths That know not their own birth and end and cause And glimpse not the immense intent they serve. In this nether life of man drab-hued and dull, Yet filled with poignant small ignoble things, The conscious Doll is pushed a hundred ways And feels the push but not the hands that drive. For none can see the masked ironic troupe To whom our figure-selves are marionettes, Our deeds unwitting movements in their grasp, Our passionate strife an entertainment’s scene.

The tedium of their labors — no deviations from the daily rituals, no promise of higher opportunities — reduced, drained, and broke strong, vital men. Their good cheer masked dilapidated spirits, a resignation to their lot in life; meat puppets waiting to be ground by the company

The following evening John left with Lady Shorne for the south of France, without so much as a word to me." Alexa felt as if she were hearing that fateful cliche for the first time. "Without so much as a word." No matter how much she tried to see it from every point of view, its meaning was always clear. John was a coward. Anne was his victim. The roles were the opposite of what she had supposed. It was Anne who had been heroic, not John. John was a coward, a mere puppet into whom both Anne and Alexa had managed to breathe a semblance of life. He was as much the creation of one as of the other.

At that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of “must” was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home. But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man’s dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the “natives,” and so in every crisis he has got to do what the “natives” expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

Some people believe in Fate, others don't. I do, and I don't. It may seem at times as if invisible fingers move us above like puppets on strings. But for sure, we are not born to be dragged along. We can grab the strings ourselves and adjust our course at every crossroad, or take off at any little trail into the unknown.

Becoming sensitive to the background causes of one's thoughts and feelings can—paradoxically—allow for greater creative control over one's life. It is one thing to bicker with your wife because you are in a bad mood; it is another to realize that your mood and behavior have been caused by low blood sugar. This understanding reveals you to be a biochemical puppet, of course, but it also allows you to grab hold of one of your strings: A bit of food may be all that your personality requires. Getting behind our concious thoughts and feelings can allow us to steer a more intelligent course through our lives (while knowing, of course, that we are ultimately being steered).

I just want to make things better. You deserved it. Nurse Ratched deserved it. He does too. If we fix what's broken, we should always try." "Why?" Rambo asked. Vic chose his words carefully, trying to find the right ones in the right order. "Because all beings deserve a chance to find out what life could be when they don't have to serve others.

I just want to make things better. You deserved it. Nurse Ratched deserved it. He does too. If we can fix what’s broken, we should always try.” “Why?” Rambo asked. Vic chose his words carefully, trying to find the right ones in the right order. “Because all beings deserve a chance to find out what life could be when they don’t have to serve others.

Often he had the impression that the person answering questions from the scratchy armchair was a dummy that he was controlling, that this had been true throughout his life, and that his life had become so involved with operating the dummy that he, the ventriloquist, had ceased to have a personality, becoming just an arm stuffed up the puppet's back.

We are not involved in this struggle only because we think that we will dismantle this system in the course of our life. We hope Cameroon changes tomorrow. But if it doesn’t, we will be happy to know that we made the ground fertile for the next generation that will end the rot in this country, and then establish the “NEW CAMEROON".” Dr. Samuel F. Tchwenko

Most of us have wrestled with feelings of disappointment in our Christian life. We live with the notion that if I do my part, God should do His. Instead of rightfully developing a healthy understanding of who God is, we’ve developed a Christian model where I am the center of my world and God is a puppet, waiting at my beck and call to fulfill my every whim.

Are we running hot or something?" Peabody demanded. "So a person can't take a minute to have a cup of coffee and maybe a small bite to eat, especially when the person got off a full subway stop early to work off the anticipated bite to eat." "If you're finished whining about it, I'll fill you in." "A real partner would have brought me a coffee to go so I could drink it while being filled in." "How many coffee shops did you pass on your endless and arduous hike from the subway?" "It's not the same," Peabody muttered. "And it's not my fault I'm coffee spoiled. You're the one who brought the real stufff made from real beans into my life. You addicted me." She pointed an accusing finger at Eve. "And now you're withholding the juice." "Yes, that was my plan all along. And if you ever want real again in this lifetime, suck it up and do my bidding." Peabody stared. "You're like Master Manipulator. An evil coffee puppeteer." "Yes, yes, I am. Do you have any interest, Detective, in where we're going, who we're going to see, and why?" "I'd be more interested if I had coffee.

From the perspective of the radicals, the habitus basis of human existence is, as a whole, no more than a spiritually worthless puppet theatre into which a free ego-soul must be implanted after the fact, and through the greatest effort. If this fails, one experiences an effect in most people that is familiar from many athletes and models: they make a promising visual impression - but if one knocks, no one is at home. According to these doctrines, the adept can only rid themselves of their baggage by subjecting their life to a rigorous practice regime by which they can de-automize their behaviour in all important dimensions. At the same time, they must re-automatize their newly acquired behaviour so that what they want to be or represent becomes second nature.

Sixsmith, Eva. Because her name is a synonym for temptation: what treads nearer to the core of man? Because her soul swims in her eyes. Because I dream of creeping through the velvet folds to her room, where I let myself in, hum her a tune so-so-so softly, she stands with her naked feet on mine, her ear to my heart, and we waltz like string puppets. After that kiss, she says, “Vous embrassez comme un poisson rouge!” and in moonlight mirrors we fall in love with our youth and beauty. Because all my life, sophisticated, idiotic women have taken it upon themselves to understand me, to cure me, but Eva knows I’m terra incognita and explores me unhurriedly, like you did. Because she’s lean as a boy. Because her scent is almonds, meadow grass. Because if I smile at her ambition to be an Egyptologist, she kicks my shin under the table. Because she makes me think about something other than myself. Because even when serious she shines. Because she prefers travelogues to Sir Walter Scott, prefers Billy Mayerl to Mozart, and couldn’t tell C major from a sergeant major. Because I, only I, see her smile a fraction before it reaches her face. Because Emperor Robert is not a good man—his best part is commandeered by his unperformed music—but she gives me that rarest smile, anyway. Because we listened to nightjars. Because her laughter spurts through a blowhole in the top of her head and sprays all over the morning. Because a man like me has no business with this substance “beauty,” yet here she is, in these soundproofed chambers of my heart. Sincerely, R.F.

The greatest actors can create a human being before the very eyes of spectators – not show them something beforehand like a puppet. To go out onto the stage and become the character at a moment of crisis and speak without knowing what you are going to say until the words come out! To court that danger and to triumph, that is the great adventure that life offers. The incomparable adventure. Don’t you see that?

Maybe it all began now, my life as a wife comfortable in her own home, a real wife. I tried to remember how Pinocchio had become a real boy. It had something to do with being in a whale, maybe saving his father's life; I hadn't done anything like that. But surely a woman was more complex than a puppet boy and she might become herself not once-and-for-all but cyclically: waxing, waning, sometimes disappearing altogether.

An empty pageant; a stage play; flocks of sheep, herds of cattle; a bone flung among a pack of dogs; a crumb tossed into a pond of fish; ants, loaded and laboring; mice, scared and scampering; puppets, jerking on their strings; that is life. In the midst of it all you must take your stand, good-temperedly and without disdain, yet always aware that a man’s worth is no greater than the worth of his ambitions. —Marcus Aurelius, Meditations

Thus, his ambition led him not to relieve his patients’ madness, but to exasperate it—to let it breathe with a life of its own. And this he did in certain ways that wholly eradicated what human attributes remained in these people. But sometimes that peculiar magic he saw in their eyes would seem to fade, and then he would institute his ‘proper treatment,’ which consisted of putting them through a battery of hellish ordeals intended to loosen their attachment to the world of humanity and to project them further into the realm of the ‘silent, staring universe’ where the insanity of the infinite might work a rather paradoxical cure. The result was something as pathetic as a puppet and as exalted as the stars, something at once dead and never dying, a thing utterly without destiny and thus imperishable, forever consigned to that abysmal vacuity which is the essence of all that is immortal.

I think I am trying to clear my head of all the junk in there – the assholes, the flags, the underpants. Yes – there is a picture in this book of underpants. I´m throwing out characters from my other books, too. I´m not going to put on any more puppet shows. I think I am trying to make my head as empty as it was when I was born onto this damaged planet fifty years ago. I suspect that this is something most white Americans, and nonwhite Americans who imitate white Americans, should do. The things other people have put into my head, at any rate, do not fit together nicely, are often useless and ugly, are out of proportion with one another, are out of proportion with life as it really is outside my head. I have no culture, no humane harmony in my brains. I can´t live without a culture anymore. So this book is a sidewalk strewn with junk, trash which I throw over my shoulders as I travel in time back to November eleventh, nineteen hundred and twenty-two.

I had as much influence over Loneliness as it had over me! I can see that now. No one can help how they feel so I was stuck with Loneliness. But I had a choice. I could let Loneliness consume me for the rest of my life, give in to it and let it control me like a puppet… or I could fight back. When it would whisper in my ear and tell me to lash out at those I loved, to push them away, I’d say no. When it tried to keep me lonely I would hold it at arm’s length and… it would listen.

And we saved your life, y’know,” Andrew said, jerking his head in Oliver’s direction. “I mean, the least you could do is thank us.” “Of course!” Oliver said hastily. “Thank you very much.” “It was really dangerous back there,” Patricia said earnestly, as though wanting to make sure he understood the severity of the situation. “Yes, beheading is a serious business, I suppose,” Oliver said kindly. “I think it would have been difficult to keep on living once my head was chopped off.

[...] I talk to the dead although I don't believe in ghosts. But it makes me feel good to speak with them. Maybe that is what God is. A good God wouldn't have let my babies die. I can't believe in that. My babies did nothing wrong." "I agree. They did nothing wrong." He looked at her thoughtfully. "But a God that did everything we thought was right and good wouldn't be the creator of the universe. He would be our puppet. He wouldn't be God. There's more to everything than we can know.

Suddenly, Pinocchio's identity as a puppet takes on the power of metaphor. Until now, it has been possible to think of him more or less as a naughty little boy. But now his being a marionette becomes central to the story - and to the message, of the importance of education, that Collodi is using the story to convey. If you don't study and make a contribution to society, you will forever remain a puppet. You will never grow. And, as the story goes on to relate, your life will be blighted.

In all the arts," he adds, "the artist can only reflect his own soul. His work, no matter how it may be dressed up, is of necessity contemporary with himself, being the reflection of his own mind. What do we admire in the *Divine Comedy* unless it be the great soul of Dante? And the marbles of Michael Angelo, what do they represent to us that is at all extraordinary unless it be Michael Angelo himself? The artist either communicates his own life to his creations or else merely whittles out puppets and dresses up dolls.

Are you going to start with the poetry of it?” Ghastron asked softly. “How her hooks are in your soul, so that each sweet breath is naught but wind unless some part of her can feel as you now feel. How every beat of your labouring heart speaks her name, and yet you know it isn’t even her name. That, sans the bounds of contract and the conjurer’s circle, does the thing that fills your life even exist? Or is the one you love solely within your mind, a puppet show played for your own amusement, and in which you strive, ever doubting, to believe?

I look around and see that many — not all, but many — problems we've got could be solved if our culture simply fostered the habit of reading. Reading books of science, philosophy, history. Reading literature of quality, the sort that touches us because of a more profound reason, such as, for instance, because it's got something to say beyond all the futilities and trifles of life, even while depicting the ordinary in life, at the same time that it says it with style, in a unique, admirable manner. An original one. We are not a county of readers, notwithstanding. We are the country of football turned into a cult, of guile being ranked high as a cardinal virtue, of Carnival made for exportation. A country where there are more letters in political party acronyms than in all many of our politicians have written in a lifetime. A country where ethics has become a joke theme. Where democracy is but a ridiculous puppet theatre. Yes, I look around and see that many problems could be solved if we had the habit of reading. But I am not even sure whether there is someone reading these words.

How can you know what you want or feel or think—who you are—if you don't know which way history's marionette strings are tugging? [...] People aren't puppets, and to pull a person is to create the conditions for rebellion. Maybe we're more like butterflies, pinned live and wriggling onto history's collage. If, as I have been convinced, the point of life and the meaning of freedom is to make something with what the world makes of you, then it's necessary to locate those places where history reaches through your self and sticks you to the board.

That was old Ariel. The one who dove right into town life and interacted a little too closely with a puppet show, poking at things in shops that are for display only, dancing f to music that was probably just for listening to. Now she stood back and watched. Was this the result of age, and experience, and time? Or of not having a voice for so long? Had quiet observation just become a habit? Maybe this would provide am excuse for her to gather more information. Observation is all well and good, but only if it leads to a thoughtful plan of action!

A thinking puppet is the mind of life: Its choice is the work of elemental strengths That know not their own birth and end and cause And glimpse not the immense intent they serve. In this nether life of man drab-hued and dull, Yet filled with poignant small ignoble things, The conscious Doll is pushed a hundred ways And feels the push but not the hands that drive. For none can see the masked ironic troupe To whom our figure-selves are marionettes, Our deeds unwitting movements in their grasp, Our passionate strife an entertainment’s scene.

You mix metaphors,” added Carl. “I what?” “You mix metaphors. You start talking about the idea of having a gun to their head and then you describe the corps as having strings in their backs, like puppets. And then you talk about playing a rigged game. You’ve got to pick one or the other. Unless you want them all to see themselves as puppets playing cards with guns to their heads, but that’s just stupid. Who shoots a puppet?” The captain’s mouth fell open. “You know, I had teachers who talked like you in school. Pretty sure they’re what drove me to a life of crime.

You know how some people think cool equals bored, and they act like they’re alien scientists who drew the short straw and ended up assigned to observe this lowly species, humans, and they just lean against walls all the time, sighing and waiting to be called home to Zigborp-12, where all the fascinating geniuses are? Yeah, well, Mik doesn’t sigh or lean, and his eyes are fully open like something awesome might happen at any time and he doesn’t want to miss it. If he’s an alien, he’s an alien from a gray planet without pizza or music, and he freaking loves it here.

Then, if that was to be taken away, you wouldn't be you, right?  You would be someone else's idea of you...do you understand?” He asked as I must have looked confused. “Yeah I get it, so what you’re saying is that we would all be like puppets.” “Yes, something like that. You must understand that God gave life, but that is your gift to do with it how you choose to live it. He does not dictate how you do this, nor does he negate your decisions. You must realise that he is neutral when it comes to your free will, you are a product of your own choices and this sometimes, no matter how

I’m throwing out characters from my other books, too. I’m not going to put on any more puppet shows. I think I am trying to make my head as empty as it was when I was born onto this damaged planet fifty years ago. I suspect that this is something most white Americans, and nonwhite Americans who imitate white Americans, should do. The things other people have put into my head, at any rate, do not fit together nicely, are often useless and ugly, are out of proportion with one another, are out of proportion with life as it really is outside my head. I have no culture, no humane harmony in my brains. I can’t live without a culture anymore. ***

From the perspective of my old laptop, I am a numbers man, something like that every instruction he gives me is a one or a zero I remember well I have information about him before he left for his new toy thinner, younger, able to keep up with him, I have information about him may 15th 2008, he listened to a song five times in succession it was titled Everybody, open parenthesis, Backstreet's Back, close parenthesis it included the lyric 'Am I sexual, yeaaaaah' He said once, computers like a sense of finality to them when I write something I don't want to be able to run from it this was a lie he was addicted to my ability to keep his secrets I am a numbers man, every instruction he gives me is a one, or a zero I remember well January, 7th 2007 I was young just two week awake he gave me, a new series of one's and zeros the most sublime sequence I have ever seen it had curves, and shadow, it was him he gave his face in numbers and trusted me to be the artist, and I was do not laugh I have read about your God you kill each other over your grand fathers memory of him I still remember the fingertips of my God dancing across my body After I learnt to draw him he trusted with more art rubric jpeg 1063 was his favourite Him, and that woman, resting her head in the curve of his nick I read his correspondence she hasn't written him back in years but he asks for it, constantly, jpeg 1063, jpeg 1063, jpeg 1063 it was my master piece it looked so, .., life like I wanted to tell him That's not her that is me that is not her face those are my ones and zeros waltzing in space for you she is nothing more than my shadow puppet you do not miss her, you miss me, I am a numbers man, every instruction he gives is a one or a zero I remember well but he taught me to be a Da Vinci and I sit here, with his portraits waiting for him to return I do not think he will Is that what it means to be human to be all powerful, to build a temple to yourself and leave only the walls to pray

Still, Mom hates Youth Group, which Kennedy thinks is the most hilarious thing in the world. “Hey, Bee’s Mom,” Kennedy said. That’s what she calls Mom. “Have you ever heard of poop in the stew?” “Poop in the stew?” Mom said. “We learned about it in Youth Group,” Kennedy said. “Luke and Mae did a puppet show about drugs. And the donkey was, like, ‘Well, just one little puff of marijuana can’t hurt.’ But the lamb said, ‘Life is stew, and pot is poop. If someone stirred even a teeny-tiny bit of poop in the stew, would you really want to eat it?’” “And those featherheads wonder why people are fleeing the church? Puppet shows for teenagers—” Before Mom could totally go off, I grabbed Kennedy’s hand. “Let’s go to the bathroom again,” I said.

Having her on Peregrine again was like being shoved back into a nightmare, so why did he look forward to being with her? Maybe because he found a certain bizarre safety in her company. She didn't possess any of the polished beauty he was always drawn to. Unlike Kenley, Annie had a quirky amusement park of a face. Annie was also smart as a whip, and although she wasn't needy, she didn't present herself as being indomitable, either. Those were her good points. As for the bad... Annie regarded life as a puppet show. She had no experience with soul-crushing nights or despair so thick it clung to everything you touched. Annie might deny it, but she still believed in happy endings. That was the illusion trapping him into wanting to be with her.

We are all running towards a destination which doesn't exist. On our way, dogs of life keep barking at us where we respond to some and some we throw stones at. Every dog teaches a lesson we are better off without. Every knife stabs a little deeper than we deserve. Every bruise stays a lot longer than it is meant to. Encumbered by forceful lessons of life we fight for the air of elation from the breaths we take to covert them into the moments of our real existence. Everything starts with life's tyrannical dominance and ends with our impelled submissiveness. We are the puppets of external circumstances and still we believe it's all on the inside. We should be laughing at our plight, someone has framed it with such sublimity. But all we do is ache at every shred of it because that's what keeps it alive.

The first step in retracing our way to health is to abandon our attachment to what is called positive thinking. Too many times in the course of palliative care work I sat with dejected people who expressed their bewilderment at having developed cancer. “I have always been a positive thinker,” one man in his late forties told me. “I have never given in to pessimistic thoughts. Why should I get cancer?” As an antidote to terminal optimism, I have recommended the power of negative thinking. “Tongue in cheek, of course,” I quickly add. “What I really believe in is the power of thinking.” As soon as we qualify the word thinking with the adjective positive, we exclude those parts of reality that strike us as “negative.” That is how most people who espouse positive thinking seem to operate. Genuine positive thinking begins by including all our reality. It is guided by the confidence that we can trust ourselves to face the full truth, whatever that full truth may turn out to be. As Dr. Michael Kerr points out, compulsive optimism is one of the ways we bind our anxiety to avoid confronting it. That form of positive thinking is the coping mechanism of the hurt child. The adult who remains hurt without being aware of it makes this residual defence of the child into a life principle. The onset of symptoms or the diagnosis of a disease should prompt a two-pronged inquiry: what is this illness saying about the past and present, and what will help in the future? Many approaches focus only on the second half of that healing dyad without considering fully what led to the manifestation of illness in the first place. Such “positive” methods fill the bookshelves and the airwaves. In order to heal, it is essential to gather the strength to think negatively. Negative thinking is not a doleful, pessimistic view that masquerades as “realism.” Rather, it is a willingness to consider what is not working. What is not in balance? What have I ignored? What is my body saying no to? Without these questions, the stresses responsible for our lack of balance will remain hidden. Even more fundamentally, not posing those questions is itself a source of stress. First, “positive thinking” is based on an unconscious belief that we are not strong enough to handle reality. Allowing this fear to dominate engenders a state of childhood apprehension. Whether or not the apprehension is conscious, it is a state of stress. Second, lack of essential information about ourselves and our situation is one of the major sources of stress and one of the potent activators of the hypothalamicpituitary-adrenal (HPA) stress response. Third, stress wanes as independent, autonomous control increases. One cannot be autonomous as long as one is driven by relationship dynamics, by guilt or attachment needs, by hunger for success, by the fear of the boss or by the fear of boredom. The reason is simple: autonomy is impossible as long as one is driven by anything. Like a leaf blown by the wind, the driven person is controlled by forces more powerful than he is. His autonomous will is not engaged, even if he believes that he has “chosen” his stressed lifestyle and even if he enjoys his activities. The choices he makes are attached to invisible strings. He is still unable to say no, even if it is only to his own drivenness. When he finally wakes up, he shakes his head, Pinocchio-like, and says, “How foolish I was when I was a puppet.

Why do you care so much?” Rambo asked. Vic blinked. “What do you mean?” “You found him,” Rambo said. “And you’re trying to fix him. You did the same for me and Nurse Ratched. Why?” Vic shrugged awkwardly. “I don’t know. It’s just…” Nurse Ratched beeped. “It is as Gio said. Searching for a connection. Making something out of nothing so the spaces between us do not seem so far.” “Are you going to connect with him?” Rambo asked. Vic felt his face grow hot. “That’s not—I’m not trying to—” He closed his eyes, forcing himself to calm, breathing in and out. “I just want to make things better. You deserved it. Nurse Ratched deserved it. He does too. If we can fix what’s broken, we should always try.” “Why?” Rambo asked. Vic chose his words carefully, trying to find the right ones in the right order. “Because all beings deserve a chance to find out what life could be when they don’t have to serve others.

The Colonel-Count!” I echoed. “The doll—the puppet—the manikin—the poor inferior creature! A mere lackey for Dr. John his valet, his foot-boy! Is it possible that fine generous gentleman—handsome as a vision—offers you his honourable hand and gallant heart, and promises to protect your flimsy person and feckless mind through the storms and struggles of life—and you hang back—you scorn, you sting, you torture him! Have you power to do this? Who gave you that power? Where is it? Does it lie all in your beauty—your pink and white complexion, and your yellow hair? Does this bind his soul at your feet, and bend his neck under your yoke? Does this purchase for you his affection, his tenderness, his thoughts, his hopes, his interest, his noble, cordial love—and will you not have it? Do you scorn it? You are only dissembling: you are not in earnest: you love him; you long for him; but you trifle with his heart to make him more surely yours?

Let us go and sit in the shade," said Lord Henry. "Parker has brought out the drinks, and if you stay any longer in this glare, you will be quite spoiled, and Basil will never paint you again. You really must not allow yourself to become sunburnt. It would be unbecoming." "What can it matter?" cried Dorian Gray, laughing, as he sat down on the seat at the end of the garden. "It should matter everything to you, Mr. Gray." "Why?" "Because you have the most marvellous youth, and youth is the one thing worth having." "I don't feel that, Lord Henry." "No, you don't feel it now. Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with its hideous fires, you will feel it, you will feel it terribly. Now, wherever you go, you charm the world. Will it always be so? ... You have a wonderfully beautiful face, Mr. Gray. Don't frown. You have. And beauty is a form of genius--is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it. You smile? Ah! when you have lost it you won't smile.... People say sometimes that beauty is only superficial. That may be so, but at least it is not so superficial as thought is. To me, beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible.... Yes, Mr. Gray, the gods have been good to you. But what the gods give they quickly take away. You have only a few years in which to live really, perfectly, and fully. When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats. Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing.... A new Hedonism--that is what our century wants. You might be its visible symbol. With your personality there is nothing you could not do. The world belongs to you for a season.... The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be. There was so much in you that charmed me that I felt I must tell you something about yourself. I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last--such a little time. The common hill-flowers wither, but they blossom again. The laburnum will be as yellow next June as it is now. In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth!

And at dawn the dryads, all around her, in a ring… The distant silvery laughter… A puppet on a string! Swing, swing, marionette, little head hanging down… And her own, unnatural, wheezing cry. And then darkness. “Indeed, I have a debt,” she said through clenched teeth. “Indeed, for I was a hanged man cut from the noose. As long as I live, I see, I shall never pay off that debt.” “Everyone has some kind of debt,” replied Eithné. “Such is life, Maria Barring. Debts and liabilities, obligations, gratitude, payments… Doing something for someone. Or perhaps for ourselves? For in fact we are always paying ourselves back and not someone else. Each time we are indebted we pay off the debt to ourselves. In each of us lies a creditor and a debtor at once and the art is for the reckoning to tally inside us. We enter the world as a minute part of the life we are given, and from then on we are ever paying off debts. To ourselves. For ourselves. In order for the final reckoning to tally.

That's Life" "That's life, that's what all the people say You're ridin' high in April, shot down in May But I know I'm gonna change that tune When I'm back on top, back on top in June I said that's life, and as funny as it may seem Some people get their kicks stompin' on a dream But I don't let it, let it get me down 'cause this fine old world, it keeps spinnin' around I've been a puppet, a pauper, a pirate, a poet, a pawn and a king I've been up and down and over and out and I know one thing Each time I find myself flat on my face I pick myself up and get back in the race That's life, I tell you I can't deny it I thought of quitting, baby, but my heart just ain't gonna buy it And if I didn't think it was worth one single try I'd jump right on a big bird and then I'd fly I've been a puppet, a pauper, a pirate, a poet, a pawn and a king I've been up and down and over and out and I know one thing Each time I find myself layin' flat on my face I just pick myself up and get back in the race That's life, that's life and I can't deny it Many times I thought of cuttin' out but my heart won't buy it But if there's nothin' shakin' come this here July I'm gonna roll myself up in a big ball and die My, my!

It is very impressive, to notice that whatsoever you make a person believe about you, that person will rush to represent within his role, as if he or she was mentally programmed to play the drama being offered. People are so trapped within their mind, that they end up always acting inside a theatre, in which their part has been foreseen long before they entered the roles they represent. Likewise, they become easily predictable, programmable, influenceable, manipulated, played like a string puppet. And these puppets become funnier, when mentioning mental programming, fearing mental programing and attacking mental programming, while not realizing that they are doing it, using the words, and gestures, and even phrases, that they were programmed to do, by those who program them. The one with a poor conscience is always a poor actor within his own life. He perfectly represents it, without any awareness. If he had any, he would probably not do it. But what else could he do? As prisoners in a cell with an open door, they ask when presented with freedom: “What shall I do if all I know is this?” And so, they remain inside of it, waiting for someone to tell them an answer they cannot ever understand before they see it for themselves.

I read Dickens and Shakespear without shame or stint; but their pregnant observations and demonstrations of life are not co-ordinated into any philosophy or religion: on the contrary, Dickens's sentimental assumptions are violently contradicted by his observations; and Shakespear's pessimism is only his wounded humanity. Both have the specific genius of the fictionist and the common sympathies of human feeling and thought in pre-eminent degree. They are often saner and shrewder than the philosophers just as Sancho-Panza was often saner and shrewder than Don Quixote. They clear away vast masses of oppressive gravity by their sense of the ridiculous, which is at bottom a combination of sound moral judgment with lighthearted good humor. But they are concerned with the diversities of the world instead of with its unities: they are so irreligious that they exploit popular religion for professional purposes without delicacy or scruple (for example, Sydney Carton and the ghost in Hamlet!): they are anarchical, and cannot balance their exposures of Angelo and Dogberry, Sir Leicester Dedlock and Mr Tite Barnacle, with any portrait of a prophet or a worthy leader: they have no constructive ideas: they regard those who have them as dangerous fanatics: in all their fictions there is no leading thought or inspiration for which any man could conceivably risk the spoiling of his hat in a shower, much less his life. Both are alike forced to borrow motives for the more strenuous actions of their personages from the common stockpot of melodramatic plots; so that Hamlet has to be stimulated by the prejudices of a policeman and Macbeth by the cupidities of a bushranger. Dickens, without the excuse of having to manufacture motives for Hamlets and Macbeths, superfluously punt his crew down the stream of his monthly parts by mechanical devices which I leave you to describe, my own memory being quite baffled by the simplest question as to Monks in Oliver Twist, or the long lost parentage of Smike, or the relations between the Dorrit and Clennam families so inopportunely discovered by Monsieur Rigaud Blandois. The truth is, the world was to Shakespear a great "stage of fools" on which he was utterly bewildered. He could see no sort of sense in living at all; and Dickens saved himself from the despair of the dream in The Chimes by taking the world for granted and busying himself with its details. Neither of them could do anything with a serious positive character: they could place a human figure before you with perfect verisimilitude; but when the moment came for making it live and move, they found, unless it made them laugh, that they had a puppet on their hands, and had to invent some artificial external stimulus to make it work.

That's not how you eat hot pot! That's some new-age Taiwanese thing. In Beijing, you don't mis the sauces." "Son, I'll say this the nicest way I can. I'm Chinese and you're an idiot."(247) My entire life, the single most interesting thing to me is race in America. how something so stupid as skin or eyes or stinky Chinese lunch as such an impact on a person's identity, their mental state, and the possibility of their happiness. It was race. It was race. Apologies to Frank Sinatra, but I've been called a "ch!gg@r," a puppet, a pauper, a pirate, a pawn, think the idea of America is cool, but at the end of the day wish the world had no lines. (249) You have tattoos and others have piercings, but for me, there's nothing that says more about me than the food I choose to carry every single day. As a kid trying to maintain my identity in America, my Chinese was passable, my history was shaky, but I could taste something one time and make it myself at home. When everything else fell apart and I didn't know who I was, food brought me back and here I was again. (250) ... Ironically enough, the one place that America allows Chinese people to do their thing is the kitchen. Just like Jewish people became bankers because that was the only thing Christians let them do, a lot of Chinese people ended up in laundries, delis, and kitchens because that's what was available...get in where you fit in, fool. (250)

Youth development is an interdisciplinary field that draws broadly on different social sciences to understand children and adolescents (Larson, 2000). It embraces an explicit developmental stance: Children and adolescents are not miniature adults, and they need to be understood on their own terms. Youth development also emphasizes the multiple contexts in which development occurs. Particularly influential as an organizing framework has been Bronfenbrenner’s (1977, 1979, 1986) ecological approach, which articulates different contexts in terms of their immediacy to the behaving individual. So, the microsystem refers to ecologies with which the individual directly interacts: family, peers, school, and neighborhood. The mesosystem is Bronfenbrenner’s term for relationships between and among various microsystems. The exosystem is made up of larger ecologies that indirectly affect development and behavior, like the legal system, the social welfare system, and mass media. Finally, the macrosystem consists of broad ideological and institutional patterns that collectively define a culture. There is the risk of losing the individual amid all these systems, but the developmental perspective reminds us that different children are not interchangeable puppets. Each young person brings his or her own characteristics to life, and these interact with the different ecologies to produce behavior. Youth development

This is the fact the world desperately hides from us from birth. Long after you find out the truth about sex and Santa Claus, this other myth endures, this one about how you’ll always get rescued at the last second and if not, your death will at least mean something and there’ll be somebody there to hold your hand and cry over you. All of society is built to prop up that lie, the whole world a big, noisy puppet show meant to distract us from the fact that at the end, you’ll die, and you’ll probably be alone. I was lucky. I learned this a long time ago, in a tiny, stifling room behind my high school gym. Most people don’t realize it until they’re laying facedown on the pavement somewhere, gasping for their last breath. Only then do they realize that life is a flickering candle we all carry around. A gust of wind, a meaningless accident, a microsecond of carelessness, and it’s out. Forever. And no one cares. You kick and scream and cry out into the darkness, and no answer comes. You rage against the unfathomable injustice and two blocks away some guy watches a baseball game and scratches his balls. Scientists talk about dark matter, the invisible, mysterious substance that occupies the space between stars. Dark matter makes up 99.99 percent of the universe, and they don’t know what it is. Well I know. It’s apathy. That’s the truth of it; pile together everything we know and care about in the universe and it will still be nothing more than a tiny speck in the middle of a vast black ocean of Who Gives A Fuck.

No, you don't feel it now. Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with its hideous fires, you will feel it, you will feel it terribly. Now, wherever you go, you charm the world. Will it always be so? ... You have a wonderfully beautiful face, Mr. Gray. Don't frown. You have. And beauty is a form of genius--is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it. You smile? Ah! when you have lost it you won't smile.... People say sometimes that beauty is only superficial. That may be so, but at least it is not so superficial as thought is. To me, beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible.... Yes, Mr. Gray, the gods have been good to you. But what the gods give they quickly take away. You have only a few years in which to live really, perfectly, and fully. When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats. Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing.... A new Hedonism--that is what our century wants. You might be its visible symbol. With your personality there is nothing you could not do. The world belongs to you for a season.... The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be. There was so much in you that charmed me that I felt I must tell you something about yourself. I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last--such a little time. The common hill-flowers wither, but they blossom again. The laburnum will be as yellow next June as it is now. In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth!

Suddenly, Coach Spinks’s face mellowed. There was a dissociation of form and substance. His eyes glistened; his gaze became beatific. “Let us pray,” he said and all the heads on the team dropped floorward as though they were puppets strung to the same wire. “O sweet Jesus, we come again to ask your blessings and your forgiveness for our many trespasses against you and our fellow neighbor. We are playin’ West Charleston High School tonight, Lord, but there’s no need to tell you that since you knew about it two or three million years before I did. We ask, good Jesus, not that we beat West Charleston High but that we do our best before our God, our family, and our country. We do ask, Lord, if you see it befitting, that we score a point or two more than West Charleston even though I know that Coach Warners is a God-fearin’ man and a deacon in the Baptist Church besides. But you know as well as I, Lord, he’s one of the mouthiest so-and-so’s that ever wore socks. I’m also aware, dear Jesus, that their players are all clean cut boys and also pleasant to your sight. We don’t want to ask for anything special, Lord, but help my rebounders get off their feet. Help Pinkie and Jim Don control their tempers. Give Philip and Art a little more temper. And get Ben to quit throwin’ those big city behind-the-back passes. And, Lord, please help this high school if I got to make any substitutions. My scrubs is good boys but they’ve been havin’ a devil of a time puttin’ that ball into the hole. The real thing I want to ask, Lord, is that all these boys make the first team in that great game of life. If they make mistakes, Lord, blow the whistle because you’re the great referee. Call time out and bring them to center court for another jump ball. Don’t let them go out of bounds, Lord. If they bust a play, make ’em run wind-sprints and figure eights but stay with ’em, Lord. Coach ’em all the way to the championship of life. A-men.” “A-men,” the team echoed in relief.

In all the seconds of life that beat solemnly from my heart, in all the hours of waiting for the release that binds us, in all the months of moons that guided our hopes, of all the years of yesterday that taught us the path of which we walk today: Today, I am true. Today I will write without release; without questions or care of the minds that do not understand the words that will lie before me in this letter. Licentia. The release of anything that covers my ears or blinds my eyes. Oh, licentia. The people shall call me insane because I have proven to remain unrelenting in the belief that freedom and justice and truth are all subject to change, but that the ideas are the spark which light the fire to continue my journey. These words have no value unless given an idea, and that is the only part that is bounded in this world: the idea. The idea to be free; no matter the cost of autonomy and decisions and conscious state of mind. The idea to have justice; without a governance to proclaim what it defines. The idea to seek truth; no matter how many lies claim to hold the reality. Licentia. The release of anything that covers my ears or blinds my eyes. Oh, licentia. It is the fear that controls the grip which lacerates our brains and chains our souls. It is the fear that without power or an entity that seeks it, that we will be dangerous. It is the fear of our ourselves that binds us. But once we are no longer afraid of the mirror that grants us our reflection, we begin to understand that the fear was simply an illusion. It is the pain that scares us into submission and breaks our vows to our hearts. It is the pain that makes an honest man beg on his knees to the wolves that seek to devour his ideas. It is the pain that creates the stage to which only fools applaud and puppets play. It is the pain that makes us see the ugliness of our soul. But once we are in pain, we realize that it was never the worst feeling to behold, but that the betrayal of our minds and the minds of others is. Licentia. The release of anything that covers my ears or blinds my eyes. Oh, licentia.

Now, using her limited artistic skills, she drew a picture of the earth and colored the ocean blue and the land green. “Who can tell me where we come from?” The assignment had come to Amisha after she and Ravi had a discussion with the boys about karma and the universe’s determination of their place. Jay had asked, in his innocence, what crime Ravi had committed in his previous life to be born an untouchable in this one. Amisha started to scold, but Ravi had assured her it was fine, and yet neither had the answer as to why one was born into his station in life. “God?” one student answered. “Evolution. We came from apes,” another answered. “And how do we live our life?” Amisha saw their confusion and tried to explain. “Once we are born, are we still controlled by the person or event that made us? Are we puppets?” The students shook their heads no. “Then how do we make our decisions?” “Our hearts.” Neema’s answer was tentative, sounding more like a question. Amisha nodded her approval, offering encouragement. “Our gut,” a boy in the front added. “What feels right.” “Our soul?” Amisha asked the boy. At his nod, she said, “Excellent—all of you.” Amisha made sure the class was focused before continuing. “The heart and soul work on emotions. They don’t always stop to think about what is right or wrong, only what they want and need. So where do they get their direction?” “From the brain.” The answer came from the back of the room. “Correct. Our minds guide us toward what is acceptable for us to create, protect, or destroy. And where does the brain get its intellect?” Amisha searched the room for an answer. At first the class was quiet, the children glancing at one another to see if anyone had the answer. Finally, a student near the front answered, “From what we learn or have been taught. By knowledge?” “Excellent. But even with our brains, heart, and soul guiding us, can we do anything we want? Do we have the freedom to make our own choices?” When the class murmured no, she asked, “Why not?” “Our parents,” a student threw out, making everyone laugh. “The Raj,” a girl in the front whispered. “Rules,” Neema said. Thrilled that the students were interested, Amisha said, “I want all of you to write about creating something you want, destroying something you don’t need, and protecting what is vital. But you must explain how your heart, your soul, and your mind feel about each event.

Sylphid was beginning to play professionally, and she was subbing as second harpist in the orchestra at Radio City Music Hall. She was called pretty regularly, once or twice a week, and she’d also got a job playing at a fancy restaurant in the East Sixties on Friday night. Ira would drive her from the Village up to the restaurant with her harp and then go and pick her and the harp up when she finished. He had the station wagon, and he’d pull up in front of the house and go inside and have to carry it down the stairs. The harp is in its felt cover, and Ira puts one hand on the column and one hand in the sound hole at the back and he lifts it up, lays the harp on a mattress they keep in the station wagon, and drives Sylphid and the harp uptown to the restaurant. At the restaurant he takes the harp out of the car and, big radio star that he is, he carries it inside. At ten-thirty, when the restaurant is finished serving dinner and Sylphid’s ready to come back to the Village, he goes around to pick her up and the whole operation is repeated. Every Friday. He hated the physical imposition that it was—those things weigh about eighty pounds—but he did it. I remember that in the hospital, when he had cracked up, he said to me, ‘She married me to carry her daughter’s harp! That’s why the woman married me! To haul that fucking harp!’ “On those Friday night trips, Ira found he could talk to Sylphid in ways he couldn’t when Eve was around. He’d ask her about being a movie star’s child. He’d say to her, ‘When you were a little girl, when did it dawn on you that something was up, that this wasn’t the way everyone grew up?’ She told him it was when the tour buses went up and down their street in Beverly Hills. She said she never saw her parents’ movies until she was a teenager. Her parents were trying to keep her normal and so they downplayed those movies around the house. Even the rich kid’s life in Beverly Hills with the other movie stars’ kids seemed normal enough until the tour buses stopped in front of her house and she could hear the tour guide saying, ‘This is Carlton Pennington’s house, where he lives with his wife, Eve Frame.’ “She told him about the production that birthday parties were for the movie stars’ kids—clowns, magicians, ponies, puppet shows, and every child attended by a nanny in a white nurse’s uniform. At the dining table, behind every child would be a nanny. The Penningtons had their own screening room and they ran movies. Kids would come over. Fifteen, twenty kids.

As a child, Callum never sympathized much with storybook villains, who were always clinging to some sort of broad, unspecified drive. It wasn’t the depravity that unnerved him, but the desperation of it all; the need, the compulsion, which always destroyed them in the end. That was the distasteful thing about villains, really. Not the manner in which they went about their business, which was certainly gruesome and morally corrupt, but the fact that they desired things so intensely. The heroes were always reluctant, always pushed into their roles, martyring themselves. Callum didn’t like that, either, but at least it made sense. Villains were far too proactive. Must they participate in the drudgery of it all for some interminable cause? Taking over the world was a mostly nonsensical agenda. Have control of these puppets, with their empty heads and their pitchforked mobs? Why? Wanting anything—beauty, love, omnipotence, absolution—was the natural flaw in being human, but the choice to waste away for anything made the whole indigestible. A waste. Simple choices were what registered to Callum as most honestly, the truest truths: fairy-tale peasants need money for dying child, accepts whatever consequence follow. The rest of the story—about rewards of choosing good or the ill-fated outcomes of desperation and vice—we’re always too lofty, a pretty but undeniable lie. Cosmic justice wasn’t real. Betrayal was all too common. For better or worse, people did not get what they deserved. Callum had always tended toward the assassins in the stories, the dutiful soldiers, those driven by personal reaction rather than on some larger moral cause. Perhaps it was a small role to serve on the whole, but at least it was rational, comprehensible beyond fatalistic. Take the huntsman who failed to kill Snow White, for example. An assassin acting on his own internal compass. Whether humanity as a whole won or lost as a result of his choice? Unimportant. He didn’t raise an army, didn’t fight for good, didn’t interfere much with the queen’s other evils. It wasn’t the whole world at stake; it was never about destiny. Callum admired that, the ability to take a moral stance and hold it. It was only about whether the huntsman could live with his decision—because however miserable or dull or uninspired, life was the only thing that mattered in the end. The truest truths: Mortal lifetimes were short, inconsequential. Convictions were death sentences. Money couldn’t buy happiness, but nothing could buy happiness, so at least money could buy everything else. In terms of finding satisfaction, all a person was capable of controlling was himself.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

You are so stupid.” Astonishment broke through his pain. Could I still undo what I had done? “I lied!' I spat my whisper at him. “I knew you read my journal. I knew you read my dreams. I wrote there what I thought would hurt you most! I lied to hurt you. For letting him be dead while you lived. For being loved by him more than he loved me!” I took a breath. “He loved you more than he ever loved any of the rest of us!” “What?” His mouth hung open after that word, his eyes wide. He made a stupid face of astonishment. As if he hadn’t always known he was loved the best. That he was Beloved. “Stupid again! Asking stupid questions. Go with him. Go now. It’s you he wants, not me. Go!” When had my voice risen to a shout? I did not know, I did not care. Let it be a spectacle, let all the camp be roused and folk stare at me. For that was what was happening. Dutiful had come to his feet, a sword in hand, looking around for an enemy. They were all half-awake, roused by my shouts. Hap was staring with his mouth hanging open. Nettle’s hands clutched her face in horror at the truth I had shouted. And my father lifted a hand. His face was so ravaged, it was like looking at death itself. Except for the smooth, silvered part of it. By creeping degrees, his human hand lifted. He turned it over, showing a bloody palm. His cracked lips moved. Beloved. He could not say the word, but I knew it. So did his Fool. He rose, the blanket that had draped his shoulders falling to the earth. He pulled the glove from his hand and let it fall. He walked uncertainly, like a puppet with his strings pulled by an apprentice puppeteer. He reached my father. So tenderly, he set his hand into my father’s. Then he leaned down until he lay upon the wolf, his face turned to my father’s face. He put his arm across my father’s bony back. He drew him close and set his silver fingers to the wolf. For a moment all was still. Then I saw Beloved’s fingers stir the soft fur of the wolf’s back. The firelit bodies of my father and Beloved softened and merged. I felt something I could not describe. Like the whoosh of air when a door opens, and then closes again, but it was in the Skill-current, and so strong that I saw Nettle flinch at it, too. Briefer than an instant, I saw light striate out from them. A nexus, a node on the path of fate. Then it was finished. Something finally complete, as it should have been. Their colors dimmed and the wolf’s eyes gleamed. It was slow and it was sudden, that they were gone and only the wolf remained. The snarl faded. The wolf’s ears pricked and swiveled. His broad head turned slowly. He lifted his muzzle and snuffed the night air. Such eyes he had! They were a darkness full of the brilliance of life. For one brief instant, light caught in them and glowed green. We were all motionless, as if a huge predator faced us. Then, like a wet dog, the wolf shook himself and tiny fragments of stone flew in all directions, as if he had rolled in them. His slow look roved over us, pausing at each in turn. His gaze lingered on me the last. His eyes were both hard and amused. Those we’re astonishing lies, cub. And the very last one the most inspired of all. You have your father’s talent for it. He have one final shake of his coat. I go to the hunt!

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

I love my sister dearly, but she is everything I am not. Sweet, friendly, outgoing…and borderline delusional. She is an avid believer in fate, happy endings, and everything else that she has been told she should believe in. I sometimes wondered if a part of her still believed in Santa Claus. She is naïve, and it drives me bonkers. Denise has never challenged herself to think outside the proverbial box. She’s never thought about expanding her horizons regarding the plausible. She’s just lived her whole life doing what she was told, making all the “right” choices. Actually, maybe choices isn’t the right word. They’re more like steps. And she’s followed the staircase that was put in front of her, one precise step at a time. She’s a puppet. She’s an adorable, likable, bubbly little puppet. My thoughts amused me while I watched my sister bounce from person to person—chatting with them, helping them look for their seats, and laughing a little too hard when Samantha started down the wrong aisle. I sighed, jealous of her freedom. Life had to be easier when lived like Denise. Often, I’ve wondered how much easier my life would be if I had been able to just accept the stories that others did. But it was too late for me. I knew those stories were nonsense. Life wasn’t fair. It wasn’t tidy. It sure as hell wasn’t easy, and it never would be. Life is hard, and “Happily Ever Afters” don’t exist. They were manufactured and marketed to keep the masses, people like my sister, dumb and happy. Watching my happy, naïve sister, I longed for the freedom of ignorance. Because once you know the aforementioned things, you can’t un-know them. You become a ‘realist’ (i.e. a major buzz-kill). And you can’t go back.

I was the puppet master, not the control freak.

It's like all my life I've been this tower standing on the edge of the ocean for some obscure purpose, and only now ,almost 18 years in, has someone thought to flip the switch and reveal that I am not a tower at all. I am a lighthouse. It's like waking up. I am incandescent. I never knew I could admit heat and light.

When puppets are done with their play, they go back in their boxes. They do not sit in a chair reading a book, their eyes rolling like marbles over its words. They are only objects, like a corpse in a casket. If they ever came to life, our world would be a paradox and a horror in which everything was uncertain, including whether or not we were just human puppets. All supernatural horror obtains in what we believe should be and should not be. As scientists, philosophers, and spiritual figures have testified, our heads are full of illusions; things, including human things, are not dependably what they seem. Yet one thing we know for sure: the difference between what is natural and what is not. Another thing we know is that nature makes no blunders so untoward as to allow things, including human things, to swerve into supernaturalism. Were it to make such a blunder, we would do everything in our power to bury this knowledge. But we need not resort to such measures, being as natural as we are. No one can prove that our life in this world is a supernatural horror, nor cause us to suspect that it might be. Anybody can tell you that—not least a contriver of books that premise the supernatural, the uncanny, and the frightfully paradoxical as essential to our nature.

What is the unique position in your life to be a wealthy person or to be the puppet president of any country? - For my life, and in my eyes, to be a Darwesh for all humans.

You can control how you treat people, but you cannot actually control what they think. The idea that behaving a certain way will elicit a certain response is a delusion that will keep you puppeteering through your life. It will distance you from the person you want to be and the life you want to live. And for what?