Puppet Show Quotes

Tears are curious things, for like earthquakes or puppet shows, they can occur at any time, without any warning and without any good reason.

Every act of violence was deliberate, and every favor came with enough strings attached to stage a puppet show.

PEOPLE DIE. 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.

Show your anger when needed. People need to know what irritates you and what doesn’t. But, crucially, remain internally calm. Your anger is only a tool. Don’t become its puppet.

…the whole world [is]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.

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.

I've been looking forward to this for weeks. You don't even know. It's like, gross hunter, gross hunter, gross hunter, puppet show!

I feel sorry for people who maintain relationships and friendships detrimental to their mental health. Everyone is guilty of it at one time or another- but the idea is to strive to be your best; right? So, meanwhile why are so many people faking it? Security? Fear of loneliness? Fears of independence? Fears of being self ? Or just the idea that you can make someone change? Regardless of the justifications you give & treat yourself to... , I hope all of you - "new year -new me types" strive for self care , honest and pure friendships and relationships based of love- and not based off the fake realities of your mind. These delusions of what you hope for instead of what's there, where you and your puppet show master focus more on everyone else and less on self. To change the world you must start within. But you must first BE HONEST with yourself. My new year started a few months ago-- and it was the best choice I ever made- and I hope your recreations are progressive and successful in THE NEW YEAR

Elections are highly-publicized puppet shows. Many puppets in the show are handled by the same owner, and regardless of their different costumes and voices, their agenda is one and the same. The man with the most puppets in the show usually wins the audience.

What are we (I ask) but puppets in a show-box? Oh, omnipotent Destiny, pull our strings gently! Dance us mercifully off our moserable little stage!

Egg has the truth of it. Aerion's quite the monster. He thinks he’s a dragon in human form, you know. That’s why he was so wroth at that puppet show. A pity he wasn't born a Fossoway, then he’d think himself an apple and we’d all be a deal safer, but there you are.

Destiny, I feel is also a relationship-a play between grace and willful self-effort. Half of it you have no control over, half of it is absolutely in your hands and your actions will show measurable consequences. Man is neither entirely a puppet of the gods, nor is he entirely the captain of his own destiny; he’s a little of both. We gallop through our lives like circus performers balancing on two speeding side-by-side horses-one foot is on the horse called “fate” the other on the horse called “free will”. And the question you have to ask everyday is, Which horse is which? Which horse do I need to stop worrying about because it’s not under my control, and which do I need to steer with concentrated effort?

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.

Sitting makes us think of standing Our current stance keeps on demanding We wish to fly without the wings Puppets move before pulling the strings

Tears are curious things, for like earthquakes or puppet shows they can occur at any time, without any warning and without any good reason.

Typically, in politics, more than one horse is owned and managed by the same team in an election. There's always and extra candidate who will slightly mimic the views of their team's opposing horse, to cancel out that person by stealing their votes just so the main horse can win. Elections are puppet shows. Regardless of their rainbow coats and many smiles, the agenda is one and the same.

How about this? Hong Kong had been appropriated by British drug pushers in the 1840s. We wanted Chinese silk, porcelain, and spices. The Chinese didn't want our clothes, tools, or salted herring, and who can blame them? They had no demand. Our solution was to make a demand, by getting large sections of the populace addicted to opium, a drug which the Chinese government had outlawed. When the Chinese understandably objected to this arrangement, we kicked the fuck out of them, set up a puppet government in Peking that hung signs on parks saying NO DOGS OR CHINESE, and occupied this corner of their country as an import base. Fucking godawful behavior, when you think about it. And we accuse them of xenophobia. It would be like the Colombians invading Washington in the early twenty-first century and forcing the White House to legalize heroin. And saying, "Don't worry, we'll show ourselves out, and take Florida while we're at it, okay? Thanks very much.

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.

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

I do a public access show with puppets. Puppets called actors, TV and movie stars.

It’s important that my socks match. I don’t want anything that distracts from my sock puppet show. Quiet, now! Show starts in ten seconds.

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.

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!

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.

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.

Seeing the moving handmill, Kabir wept and said, "Alas, no one has survived the pressure of the two millstones (of the heavens and the earth). They left all their mighty empire and pomp and show behind them and but for a handful of dust no trace remains of their existence. Nobody knows about them or about what happened to them after their death -- what insects ate them up and how they fared with God. Thus alone shall one realize that this world is a transitory place and man has nothing to gain from it; it is a puppet show. Thus alone shall one find peace.

The ultimate aim of government is not to rule, or restrain, by fear, nor to exact obedience, but contrariwise, to free every man from fear, that he may live in all possible security; in other words, to strengthen his natural right to exist and work without injury to himself or to others. No, the object of government is not to change men from rational beings into beasts or puppets, but to enable them to develop their minds and bodies in security, and to employ their reason unshackled; neither showing hatred, anger, or deceit, nor watched with the eyes of jealousy and injustice. In fact, the true aim of government is liberty. Benedictus De Spinoza, "Tractates Theologico-Politicus" 1670, Amsterdam Trans RHM Elwes 1937

You should have made porn puppets. You could have charged a lot more for the shows.

A strange pity came over him. Were these children of sin and misery predestined to their ends, as he to his? Were they, like him, merely the puppets of a monstrous show?

The happiest types I've ever known ran puppet shows - turning puppets into people. It works much better than turning people into puppets.

Nick and I are putting on a puppet show, Coop,” I responded dryly. “Please, Lord, don’t let that be a position I haven’t heard of,” Cooper said, shuddering.

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.

He believed in a true world. A world behind this one, that shines through it, like a candle through a lampshade'... She thought of the true world the times they had seen it - it was like light glinting on the surface of the river, that shimmering quality when you saw it. It wasn't the thing itself. It was your own ability to see it.... the feeling when time stopped, and you could stay there forever. 'You see the beauty in everything. It doesn't last long -- it's either gone in a minute, you just caught it, or else maybe it's something so big that you normally can't get your head around it. Like the fog in your head clears out. The world stops being a puppet show and you see the real thing. It's probably like that all the time, but you just can't see it, except for those little glimpses.

Nevertheless, the potential and actual importance of fantastic literature lies in such psychic links: what appears to be the result of an overweening imagination, boldly and arbitrarily defying the laws of time, space and ordered causality, is closely connected with, and structured by, the categories of the subconscious, the inner impulses of man's nature. At first glance the scope of fantastic literature, free as it is from the restrictions of natural law, appears to be unlimited. A closer look, however, will show that a few dominant themes and motifs constantly recur: deals with the Devil; returns from the grave for revenge or atonement; invisible creatures; vampires; werewolves; golems; animated puppets or automatons; witchcraft and sorcery; human organs operating as separate entities, and so on. Fantastic literature is a kind of fiction that always leads us back to ourselves, however exotic the presentation; and the objects and events, however bizarre they seem, are simply externalizations of inner psychic states. This may often be mere mummery, but on occasion it seems to touch the heart in its inmost depths and become great literature.

Without metaphysical freedom, the universe is just a divine puppet show. If there is to be any real creaturely goodness, any new and creative act of love, rather than the merely mechanical uncoiling of a wind-up universe, if there are to be any real decisions other than those made in the divine will, then there must be metaphysical freedom, and such freedom brings with it the possibility of evil as well as the promise of goodness.

So you put me through all this suffering just to taunt me?’ ‘Humans suffer because they take seriously that which we create for entertainment.’ ‘Oh really? Because let me tell you, I wasn’t the least bit entertained!’ ‘That’s because you were not being entertained, Mr Fantoccio, you were being enlightened,’ stated the Mistress through a pair of foggy eyes. ‘You want to know why painting never worked for you? Because painters are creators and you, Mr Fantoccio, are an overseer. You don’t care about setting up the puppet show; you are merely interested in giving it a good ending. For you, Mr Fantoccio, creating the world was never enough; you aspire to run it. With every breath, you want to shape it. With every choice, you need to control it.

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.

This reliance on the heart might prove to be the Achilles’ heel of liberal democracy. For once somebody (whether in Beijing or in San Francisco) gains the technological ability to hack and manipulate the human heart, democratic politics will mutate into an emotional puppet show.

I think it's a facade - like a puppet show, you know? We can only see what's going on above the curtain. But with the halo on, it's like the curtains have been removed and there's a whole world of activity behind them. It makes me wonder if the world I thought I knew would even be possible without the Celestial

In August 2013, puppeteer Rachel Jackson in Seattle did a new version of her show Manos: The Hands of Felt, which had originally played to a sold-out crowd in 2011.

The woman who was the director of the nursery school told me that she had never seen the children use puppets, and there were puppets all around. She said they used them imaginatively when I would come with my puppets. She made an analogy to a father of one of the children several years before. He was a sculptor. He would come to the school once a week just to fashion clay in the midst of the children, not to teach sculpting, but to show how you enjoy it in front of the children. He would come and love that clay in front of the children one day a week. She said that never before or since had the children used clay so imaginatively as when that man used to come and love it in front of them. Nothing didactic about it.

In 1593, soon after Marlowe’s murder, a troop of English actors brought a production of the Tragical History of Doctor Faustus to Germany. Through some metamorphosis, the tragedy became a comedy, and the comedy was then transformed into a puppet show. It was more than likely in this form that the young Goethe first came upon what would become his most famous work.

Farther And Farther From Zero Suddenly, I fall from the pavilion into a place where I see the ugliness, hypocrisy, rouge on a sunken face, a thorn lodged in a kidney, the blind crone holding a laurel wreath for the winner, her black ribbons in shreds, her eyes dark with purple, a gold anklet on her shriveled leg. The puppet show looks charming, but go behind the screen and watch who runs it. Wash your hands and face of this charade. Anyone who wants these prizes flares up quickly like a wood chip. There is one who can help, who turns the wheel from non-existence to a sweet-breathing emptiness. Words are ways we add up breath, counting stress and syllable with our exacting musical knack that takes us farther and farther from zero.

See human beings as though they were in an underground cave-like dwelling with its entrance, a long one, open to the light across the whole width of the cave. They are in it from childhood with their legs and necks in bonds so that they are fixed, seeing only in front of them, unable because of the bond to turn their heads all the way around. Their light is from a fire burning far above and behind them. Between the fire and the prisoners there is a road above, along which see a wall, built like the partitions puppet-handlers set in front of the human beings and over which they show the puppets.

At sixty, I worshiped her with the volcanic ardour of eighteen. All the gold of my rich nature was poured hopelessly at her feet. My wife – poor angel! – my wife, who adores me, got nothing but the shillings and the pennies. Such is the Work, such Man, such Love. What are we (I ask) but puppets in a show-box? Oh, omnipotent Destiny, pull our strings gently! Dance us mercifully off our miserable little stage!

Setting aside the puppet shows, the only thing that matters is who will be ruling, who will have the keys to the cash register, and how they're going to split up other people's money among themselves. On their way to the booty they'll spruce everything up, which is badly needed. New Scoundrels will appear, new leaders, and a whole choir of jnnocents with no memory will come out into the streets, ready to believe whatever they want or need to believe. They'll follow whichever Pied Piper flatters them most and promises them some shotty paradise... This is what it is... with its highs and lows, and it's only as good as it gets, which is better than nothing. There are those who see it coming and go far away... And there are those of us who stay with our feet stuck in the mud, because anyhow we don't have anywhere better to go. But don't worry about the circus. We've now come to the clown acts, and the trapeze artists will take a while to arrive.

People Die. 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.

What I like about the job of being a novelist, and at the same time what I find so exhausting about it, is that it’s the closest thing to being God you’re ever going to get. All of the decisions are yours. You decide when the sun comes up. You decide who gets to fall in love and who gets hit by a car. You have to make all the trees and all the leaves and then sew the leaves onto the trees. You make the entire world. As much as I might wish for it to happen, my characters no more write the book than the puppets take over the puppet show. (Many

Oh no,” Nurse Ratched said. “I think I am swooning. I also say ‘not yet’ when asked if I want to kill things. You are perfect.” Her screen showed two hands shaking in greeting. “I am no longer your mother. You will be my murder husband. Is there anyone here that can marry us?

And now, I said, let me show in a figure how far our nature is enlightened or unenlightened: --Behold! human beings living in a underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets. Like ourselves, I replied; and they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave.

One of the most distinguishing features of a revolution is the ravenous hunger for histrionics, dissembling, posturing, and puppet show. The ape has awakened in man. Oh, these dreams about death? What a huge place death occupies in our short lives! And there is nothing to say about the years: day and night we live in an orgy of death. They keep talking in the name of some “bright future” that will supposedly issue forth from this satanic gloom. There have already appeared on this earth an entire legion of specialists and contractors who seek to fashion human well-being.

Charlie glanced at the poster hanging on the door, which announced the store's annual Hungry Ghost Festival, just four days away. It used to be Charlie's favorite holiday, from the puppet shows at the community center to the paper lanterns that his mom hung outside and to the food- especially the food. Sautéed pea shoots. Roasted duck. Pineapple cakes that fit into the palm of your hand. Then there was his grandma's shaved ice with all the toppings- chopped mangos, condensed milk poured on thick, and her famous mung beans in sugary syrup. He could eat a whole bowl of those.

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. ***

Books were another form of fog, dipping down to infiltrate and insidiously undermine the authoritative, official version, showing it up for the sham it was. He knew the stories were all made up, the characters puppets, the outcome predetermined, so why did they seem more real than reality? And why was no one else shocked by this gleeful scandal?

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.

That I don’t tell my family about my job because I’m unable to let people know that I’m more than the sum of the ways I can be useful to them. That if I show my true self, with my needs and my wants, I risk being rejected. That I’ve wielded my ability to hide who I am like an emotional antiseptic, and in the process I’ve turned myself into a puppet. Or a watermelon with googly eyes.

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?

think about it. you're playing survivor with all the people you love. some, by sheer luck of genetic lottery, end up on the right team. this team simply knows how to dominate the game. this team understands there is no referee or rules. in fact, this team is so good at the game, they made up invisible referees and rules for other teams to find. they simply do what they want because they understand there is no such things as rights. how do you win if you're not on this team? you don't. however, the consolation prize for knowing the campground is puppet-stringed by a small herd of psychopaths is there is no one for them to pass the reigns on to. in the end, any evil there is in the universe dies, too. i recommend not making any more players and enjoying ice cream while you watch the firework show we tend to call: sun set.

His grin widens, shows teeth. 'I don't think I will be a good king. I never wanted to be one, certainly not a good one. You made me your puppet. Very well, Jude, daughter of Madoc, I will be your puppet. You rule. You contend with Balekin, with Roiben, with Orlagh of the Undersea. You be my seneschal, do the work, and I will drink wine and make my subjects laugh. I may be the useless shield you put in front of your brother, but don't expect me to start being useful.' I expected something else, a direct threat, perhaps. Somehow, this is worse. He rises from the throne. 'Come, have a seat.' His voice is replete with danger, lush with menace. The flowering branches have sprouted thorns so thickly that petals are barely visible. 'This is what you wanted, isn't it?' he asks. 'What you sacrificed everything for. Go on. It's all yours.

Liberation, the ending of sorrow, ceasing to be what you ignorantly think you are and becoming what you are in fact. For a little while, thanks to the moksha medicine, you will know what it's like to be what in fact you are, what in fact you always have been. What a timeless bliss! But, like everything else, this timelessness is transient. Like everything else, it will pass. And when it has passed, what will you do with this experience,? What will you do with all the similar experiences that the moksha medicine will bring you in the years to come? Will you merely enjoy them as you would enjoy an evening at the puppet show, and then go back to business as usual, back to behaving like silly delinquents you imagine yourself to be? Or, having glimpsed, will you devote your lives to the business, not at all as usual, of being what you are in fact?

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.

Your short understanding, your clipped mind, your hollow heart, will make more of mankind than it has the power to become. Make of a man what you will, yet he cannot be more than this I say to you, with the leave of all pure women: a human is conceived in sin, nourished with impure, unspeakable feculence in the maternal body, born naked and smeared like a beehive; a mass of refuse, a churn of filth, a dish for worms, a stinkhouse, a repulsive washtub, a rancid carcass, a mildewed crate, a bottomless sack, a perforated pocket, a bellows, a rapacious maw, a reeking flagon of urine, a malodorous pail, a deceptive marionette-show, a loamy robber’s den, an insatiably slaking trough, a painted delusion. Let recognise who will: every human created to completion has nine holes in his body; out of all these there flows such repellent filth that nothing could be more impure. You would never see human beauty, if you had the eyes of a lynx, and your gaze could penetrate to the innards; you would shudder at the sight. Strip the dressmaker’s colouring from the loveliest of ladies, and you will see a shameful puppet, a hastily withering flower, a sparkle of little durance and a soon decomposing clod of earth! Show me a handful of beauty of all the belles who lived a hundred years ago, excluding those painted on the wall, and you shall have the Kaiser’s crown! Let love flow away, let grief flow away! Let the Rhine run its course like other waters, you wise lad from Assville!

Contrary to the writings of some historians, Monroe's proclamation was entirely his own creation-not Adam's. The assertion that Adams authored the "Monroe Doctrine" is not only untrue, it borders on the ludicrous by implying that President Monroe was little more than a puppet manipulated by another's hand. Such assertions show little insight into the presidency itself and the type of man who aspires to and assumes that office; indeed, they denigrate the character, the intellect, the intensity and the sense of power that drive American presidents.

Religion and its defenders have always been the most insidious enemy of the true faith precisely because they are not glaring opponents; they are impostors. A raving pagan is easier to dismiss than an elder in your church. Before Jesus came along, the Pharisees ran the show. Everybody took what they said as gospel—even though it didn’t sound like good news at all. But we wrestle not against flesh and blood. The Pharisees and their brethren down through the ages have merely acted—unknowingly, for the most part—as puppets, the mouthpiece of the Enemy.

All moveables of wonder, from all parts, Are here—Albinos, painted Indians, Dwarfs, The Horse of knowledge, and the learned Pig, The Stone-eater, the man that swallows fire, Giants, Ventriloquists, the Invisible Girl, The Bust that speaks and moves its goggling eyes, The Wax-work, Clock-work, all the marvellous craft Of modern Merlins, Wild Beasts, Puppet-shows, All out-o'-the-way, far-fetched, perverted things, All freaks of nature, all Promethean thoughts Of man, his dullness, madness, and their feats All jumbled up together, to compose A Parliament of Monsters.

He knew what was waiting for him there; saw it, indeed, and, shuddering, crushed with dank hands his burning lids as though he would have robbed the very brain of sight and driven the eyeballs back into their cave. It was useless. The brain had its own food on which it battened, and the imagination, made grotesque by terror, twisted and distorted as a living thing by pain, danced like some foul puppet on a stand and grinned through moving masks. Then, suddenly, time stopped for him. Yes: that blind, slow-breathing thing crawled no more, and horrible thoughts, time being dead, raced nimbly on in front, and dragged a hideous future from its grave, and showed it to him. He stared at it. Its very horror made him stone.

A President J.G., F.C. who said he wasn’t going to stand here and ask us to make some tough choices because he was standing here promising he was going to make them for us. Who asked us simply to sit back and enjoy the show. Who handled wild applause from camouflage-fatigue- and sandal-and-poncho-clad C.U.S.P.s with the unabashed grace of a real pro. Who had black hair and silver sideburns, just like his big-headed puppet, and the dusty brick-colored tan seen only among those without homes and those whose homes had a Dermalatix Hypospectral personal sterilization booth. Who declared that neither Tax & Spend nor Cut & Borrow comprised the ticket into a whole new millennial era (here more puzzlement among the Inaugural audience, which Mario represents by having the tiny finger-puppets turn rigidly toward each other and then away and then toward). Who alluded to ripe and available Novel Sources of Revenue just waiting out there, unexploited, not seen by his predecessors because of the trees (?). Who foresaw budgetary adipose trimmed with a really big knife. The Johnny Gentle who stressed above all—simultaneously pleaded for and promised—an end to atomized Americans’ fractious blaming of one another for our terrible 151 internal troubles. Here bobs and smiles from both wealthily green-masked puppets and homeless puppets in rags and mismatched shoes and with used surgical masks, all made by E.T.A.’s fourth- and fifth-grade crafts class, under the supervision of Ms. Heath, of match-sticks and Popsicle-stick shards and pool-table felt with sequins for eyes and painted fingernail-parings for smiles/frowns, under their masks. The Johnny Gentle, Chief Executive who pounds a rubber-gloved fist on the podium so hard it knocks the Seal askew and declares that Dammit there just must be some people besides each other of us to blame. To unite in opposition to. And he promises to eat light and sleep very little until he finds them—in the Ukraine, or the Teutons, or the wacko Latins. Or—pausing with that one arm up and head down in the climactic Vegas way—closer to right below our nose. He swears he’ll find us some cohesion-renewing Other. And then make some tough choices. Alludes to a whole new North America for a crazy post-millennial world.

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.

Again, the publick shewed that they would bear their share in these things; the very Court, which was then gay and luxurious, put on a face of just concern for the publick danger. All the plays and interludes which, after the manner of the French Court, had been set up and began to increase among us, were forbid to act; the gaming tables, publick dancing rooms, and music houses, which multiplied and began to debauch the manners of the people, were shut up and suppressed; and the jack-puddings, merry-andrews, puppet-shows, rope-dancers, and such-like doings, which had bewitched the poor common people, shut up their shops, finding indeed no trade; for the minds of the people were agitated with other things, and a kind of sadness and horror at these things sat upon the countenances even of the common people. Death was before their eyes, and everybody began to think of their graves, not of mirth and diversions.

I imagine you not telling me to whisper. I imagine you not saying oh don't say this literally. You want me to evoke as opposed to mere describing. You want me to be an invisible scribe that an octoepoose was hiding. I'm not sure if my facial features are an autograph that your Picasso smile is signing. Infamous for the mirror I shook when my sock puppets were pining? I am not just a fish that you gave wings to! I don't simply flop in the air whenever you brush some mannequinn's hair. There is a reason for the bad timing. Exquisite imbalances. A child enjoying the pink sky. I won't say that is my clue! Playing The Beatles on a kazoo is beautiful oooh ooooh Your laughter is a woman with alot of eyeballs on her stomach that pretends that she doesn't see the colors of all them songs. In the pre dawn hours we dance with delusions and illusions. The eternal seamstress does not care for Frakenstein's dress(she still loves our unique caress ) She loves and laughs despite some so-called scientist. Where is that emperor and his nakedness! Darling, our atoms need never split. We compliment in so many ways that all our night's and days have become one swirling sunrise/sunset that only true lovers can scoff at(those who shhhhh) The flower is not passive or apologetic. It blooms through the fractured net. Floating magnetic(eep eeep) You are not just some seductress. You are the leader of an elite group of intergalactic seductress impersonators who reveal corruption but then choose to love. We embrace conclusions that make the puddle heart awake with ethereal drum beat gongs. You think of a heroic poodle in the dark. We both know that the trapeze artist that followed us was not a cliche. He smelled differently. He had never met a floating lady that showed him how to appreciate a symphony without taking away his love for a good rock n roll melody. I am not sure I can only whisper of such realities. I am not sure I can only whisper of such realities.-

But everything we see or hear offensive to our feelings and derogatory to the human character should lead to other reflections than those of reproach. Even the beings who commit them have some claim to our consideration. How then is it that such vast classes of mankind as are distinguished by the appellation of the vulgar, or the ignorant mob, are so numerous in all old countries? The instant we ask ourselves this question, reflection feels an answer. They rise, as an unavoidable consequence, out of the ill construction of all old governments in Europe, England included with the rest. It is by distortedly exalting some men, that others are distortedly debased, till the whole is out of nature. A vast mass of mankind are degradedly thrown into the background of the human picture, to bring forward, with greater glare, the puppet-show of state and aristocracy. In the commencement of a revolution, those men are rather the followers of the camp than of the standard of liberty, and have yet to be instructed how to reverence it.

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.

Do you think he’ll tell anyone?” “No,” he said immediately, reassuring her. “Westcliff isn’t given to gossip. He won’t say a word to anyone, except…” “Except?” “Lady Westcliff. He’ll probably tell her.” Amelia considered that, thinking perhaps it wasn’t so terrible. Lady Westcliff didn’t seem like the kind of person who would condemn her for this. The countess seemed quite tolerant of scandalous behavior. “Of course,” Rohan continued, “if Lady Westcliff knows, there’s a high probability she’ll tell Lady St. Vincent, who’s due to arrive with Lord St. Vincent by the end of the week. And since Lady St. Vincent tells her husband everything, he’ll know about it, too. Other than that, no one will find out. Unless…” Her head jerked upward like a string puppet’s. “Unless what?” “Unless Lord St. Vincent mentions it to Mr. Hunt, who would undoubtedly tell Mrs. Hunt, and then … everyone would find out.” “Oh, no. I can’t bear it.” He gave her an alert glance. “Why? Because you were caught kissing a Gypsy?” “No, because I’m not the kind of woman who is caught kissing anyone. I don’t have rendezvous! When everyone finds out, I’ll have no dignity left. No reputation. No—What are you smiling at?” “You. I wouldn’t have expected such melodrama.” That annoyed Amelia, who was not the kind of woman who indulged in theatrics. She wedged her arms more firmly between them. “My reaction is perfectly reasonable considering—” “You’re not bad at it.” She blinked in confusion. “Melodrama?” “No, kissing. With a little practice, you’d be exceptional. But you need to relax.” “I don’t want to relax. I don’t want to … oh, dear Lord.” He had bent his head to her throat, searching for the visible thrum of her pulse. A light, hot shock went through her. “Don’t do that,” she said weakly, but he was insistent, his mouth wickedly soft, and her breath hitched as she felt the brush of his tongue. Her hands shot to his muscle-banked shoulders. “Mr. Rohan, you mustn’t—” “This is how to kiss, Amelia.” He cradled her head in his palms, deftly tilting it to the side. “Noses go here.” Another disorienting brush of his mouth, a wash of sensual heat. “You taste like sugar and tea.” “I already know how to kiss!” “Do you?” His thumb passed over her kiss-heated lips, urging them to part. “Then show me,” he whispered. “Let me in, Amelia.

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.

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

Die on me again, and I’m going to fucking piss on your grave. Shit no—I’m going to sell every single damned song we have to a children’s show with puppets.

showed a group of two- and three-year-olds a new game. A puppet then appeared and performed the game incorrectly. Almost all the children protested the puppet’s actions and many explicitly objected, telling the puppet how the game should be played. “Social norms—even of this relatively trivial type—can only be created by creatures who engage in shared intentionality and collective beliefs,” Tomasello writes, “and they play an enormously important role in maintaining the shared values of human cultural groups.” 7

As former deputy head of the presidential administration, later deputy prime minister and then assistant to the President on foreign affairs, Surkov has directed Russian society like one great reality show. He claps once and a new political party appears. He claps again and creates Nashi, the Russian equivalent of the Hitler Youth, who are trained for street battles with potential prodemocracy supporters and burn books by unpatriotic writers on Red Square. As deputy head of the administration he would meet once a week with the heads of the television channels in his Kremlin office, instructing them on whom to attack and whom to defend, who is allowed on TV and who is banned, how the President is to be presented, and the very language and categories the country thinks and feels in. The Ostankino TV presenters, instructed by Surkov, pluck a theme (oligarchs, America, the Middle East) and speak for twenty minutes, hinting, nudging, winking, insinuating though rarely ever saying anything directly, repeating words like “them” and “the enemy” endlessly until they are imprinted on the mind. They repeat the great mantras of the era: the President is the President of “stability,” the antithesis to the era of “confusion and twilight” in the 1990s. “Stability”—the word is repeated again and again in a myriad seemingly irrelevant contexts until it echoes and tolls like a great bell and seems to mean everything good; anyone who opposes the President is an enemy of the great God of “stability.” “Effective manager,” a term quarried from Western corporate speak, is transmuted into a term to venerate the President as the most “effective manager” of all. “Effective” becomes the raison d’être for everything: Stalin was an “effective manager” who had to make sacrifices for the sake of being “effective.” The words trickle into the streets: “Our relationship is not effective” lovers tell each other when they break up. “Effective,” “stability”: no one can quite define what they actually mean, and as the city transforms and surges, everyone senses things are the very opposite of stable, and certainly nothing is “effective,” but the way Surkov and his puppets use them the words have taken on a life of their own and act like falling axes over anyone who is in any way disloyal.

We are all puppets in front of god. He gives things to us and he takes them back. It is his way of showing his existence.

but aside from the cars the stars of the show were some make-believe characters called Muppets, still seven years away from Sesame Street fame. The auto show special two years earlier had been critiqued for being too dry; this one went to the other extreme. They were “clever little puppets,” noted one reviewer, “but there must be another way to add entertainment . . . with more auto-related features.

How many exes do you have? You’re like a fame-whore, female pop star gone wild after she left her sock puppets show for more mature gig.

Destiny, I feel, is also a relationship—a play between divine grace and willful self-effort. Half of it you have no control over; half of it is absolutely in your hands, and your actions will show measurable consequence. Man is neither entirely a puppet of the gods, nor is he entirely the captain of his own destiny; he’s a little of both. We gallop through our lives like circus performers balancing on two speeding side-by-side horses—one foot is on the horse called “fate,” the other on the horse called “free will.

Is that supposed to mean organized sports? Because it looks like a puppet show about explosions and gay sex. Or jazz hands, which is basically the same thing.

If we believe our thoughts, then they define us and determine our experience of life, how we feel, and what we do. We are, in many respects, a puppet to our conditioning, to our thoughts and feelings—when we believe them. When we are identified with them and believe them, we are at the mercy of them. They run the show.

Felix.” She let go, suddenly shy to speak. But that tense, tickly sensation running from her throat to her belly was giving her some kind of superhuman nerve. And besides, he wasn’t really Felix Callahan anymore, not in that ethereal, big-screen sense. So. She cleared her throat. “Felix, will you be my friend?” He did laugh at her, though he didn’t seem to mean it. “Yes, we’ll get matching lockets holding strands of each other’s hair.” “I wish the English language gave us a better option. ‘Pals,’ ‘chums,’ ‘buddies’ . . . but a word that implies the sudden and unusual nature—like ‘metabuddies.’ ” “ ‘Metabuddies.’ Wow. This is getting serious.” “So?” “So. Yes. Let’s be friends. That would solve some of this confused muss. Do we spit in our palms and shake?” “I think this calls for a pinky pledge.” She hooked her pinky around his. “I, Becky Jack, agree to be Felix Callahan’s pal, even though he’s way overrated as an actor and screen hunk and can be such a brat.” Felix cleared his throat. “I, world-famous and fabulously wealthy Felix Paul Callahan, agree to be mates with Becky, even though she wears grandmother shoes and insists on popping out children with reckless abandon and shows no remorse for her vicious right hook.” “That was very nice. I almost shed a tear.” “Apparently all it takes to make you weep is a singing puppet.” “Hey, don’t sell me short. I also cry at talking socks and animated washcloths.” “You cry in terror.” “Well, yeah, that’s true.

No sermon I have heard or read touched my heart with half the force of this puppet show. John Quincy Adams

Carol I must not be confused with his nephew’s son, Carol II. Whereas the latter was undisciplined and sensual, the former was an anal-retentive Prussian of the family of Hohenzollern-Sigmaringen, who, in the course of a forty-eight-year rule (1866–1914), essentially built modern Romania, complete with nascent institutions, from an assemblage of regions and two weak principalities. Following 1989, he had become the default symbol of legitimacy for the Romanian state. Whereas Carol I signified realism and stability, the liberal National Peasant Party leader Iuliu Maniu, a Greek Catholic by upbringing, stood for universal values. As a mid-twentieth-century local politician in extraordinarily horrifying circumstances, Maniu had agitated against the assault on the Jews and in favor of getting Antonescu to switch sides against the Nazis; soon after, during the earliest days of the Cold War, he agitated against the Soviets and their local puppets. Nazi foreign minister Joachim von Ribbentrop once demanded Maniu’s execution. As it turned out, the Communist Gheorghiu-Dej regime later convicted Maniu in a show trial in 1947. Defying his accusers, he spoke up in court for free elections, political liberties, and fundamental human rights.16 He died in prison in 1953 and his body was dumped in a common grave. Maniu’s emaciated treelike statue with quotations from the Psalms is, by itself, supremely moving. But there is a complete lack of harmony between it and the massive, adjacent spear pointing to the sky, honoring the victims of the 1989 revolution. The memorial slabs beside the spear are already chipped and cracked. Piaţa Revoluţiei in 1981 was dark, empty, and fear-inducing. Now it was cluttered with memorials, oppressed by traffic, and in general looked like an amateurish work in progress. But though it lacked any

Inside the White House, some aides nicknamed Barr “the Honey Badger,” a reference to a viral video in which a fearless badger climbs a tree to kill a snake, gets bitten by the snake, passes out, and then starts eating the slithering creature. “It was always going to be Barr’s show,” one Trump legal adviser said. “Even if we wanted to be a puppeteer, why would we risk it? Emmet was not going to let stupid decisions be made at the end of this game. We were not going to snatch defeat from the jaws of victory.

Other Kinds of Fun LARGE MOTOR SKILLS ♦  Take a walk on a balance beam, along the curb, or even down a line on the sidewalk. ♦  Play catch (start with a large, slightly deflated ball). ♦  Jump over things (anything more than a few inches, though, will be too high for most kids this age). ♦  Throw, kick, roll, and toss balls of all sizes. ♦  Ride a tricycle. ♦  Spin around till you drop. ♦  Pound, push, pull, and kick. ♦  Make music using drums, xylophones, flutes, and anything else you have handy. ♦  Play Twister. SMALL MOTOR SKILLS ♦  Puzzles (fewer than twenty pieces is probably best). You might even want to cut up a simple picture from a magazine and see whether your toddler can put it back together. ♦  Draw on paper or with chalk on the sidewalk. ♦  Sculpt with clay or other molding substance. ♦  Finger paint. ♦  Play with string and large beads. ♦  Pour water or sand or seeds from one container to another. ♦  Get a big box (from a dishwasher or refrigerator), then build, paint and decorate a house together. THE BRAIN ♦  Matching games. ♦  Alphabet and number games (put colorful magnetic letters and numbers on the fridge and leave them low enough for the child to reach). ♦  Lots of dress-up clothes. ♦  Dolls of all kinds (including action figures). ♦  Pretending games with “real” things (phones, computer keyboards). ♦  Imaginary driving trips where you talk about all the things you see on the road. Be sure to let your toddler drive part of the way. ♦  Sorting games (put all the pennies, or all the triangles, or all the cups together). ♦  Arranging games (big, bigger, biggest). ♦  Smelling games. Blindfold your toddler and have him identify things by their scent. ♦  Pattern games (small-big/small-big). ♦  Counting games (How many pencils are there?). A FEW FUN THINGS FOR RAINY DAYS (OR ANYTIME) ♦  Have pillow fights. ♦  Make a really, really messy art project. ♦  Cook something—kneading bread or pizza dough is especially good, as is roasting marshmallows on the stove (see pages 214–20 for more). ♦  Go baby bowling (gently toss your toddler onto your bed). ♦  Try other gymnastics (airplane rides: you’re on your back, feet up in the air, baby’s tummy on your feet, you and baby holding hands). ♦  Dance and/or sing. ♦  Play hide-and-seek. ♦  Stage a puppet show. ♦  If it’s not too cold, go outside, strip down to your underwear, and paint each other top-to-bottom with nontoxic, water-based paints. Otherwise, get bundled up and go for a long, wet, sloppy, muddy stomp in the rain. If you don’t feel like getting wet, get in the car and drive through puddles.

I plucked up the courage to ask our ill-mannered oracle the question I assumed—no, knew—obsessed my bride. I bent over the board and asked if we would become famous. The impact was catastrophic and defied all my expectations. With audacious strength Pan showed us why panic was named after him: he gave us the fright of our lives, as if we had become overly familiar and not been sufficiently respectful of his divinity. Out of nowhere an angry puppeteer abruptly pulled up my bride’s hand, her eyes shot full of frightened tears, and—having wanted only to please her, chasing after the American dream of a glorious existence like an obedient old sheepdog—I listened, stunned, as she spoke in tongues. Pan dispensed with the slowness of the alphabet and spoke directly through her in a deep, eerie growl, mocking her longing for that hollow display, and asked whether she realized that the fame she so passionately desired would destroy everything she had.

Public opinion nonetheless remained a formidable issue, and a Gallup poll taken in June revealed what advocates of modifying unconditional surrender were up against: 33 percent of respondents wanted to execute the emperor, 11 percent wanted him kept in prison for the rest of his life, 17 percent wanted a court to decide his fate, 9 percent wanted to exile him, 4 percent wanted to leave him alone because he was just a figurehead for the warlords, and 3 percent wanted to use him as a puppet to run Japan. The remainder, 23 percent, had no opinion. In short, 70 percent of participants chose an option that was unacceptable to the advocates of modification. The results were disappointing but not surprising. Grew and the other retentionists thought the poll proved only how uninformed most Americans were. They had a point. The same survey showed that only 54 percent of respondents got the emperor’s name correct. Answers included Hara Kari, Yokohama, and Fujiyama.

Revolution in nearby Georgia, his team came up with the color and the slogan for what they called the 2004 Orange Revolution. Everything was in orange—their banners, scarves, hats, and handouts. Yushchenko's campaign functioned like a Swiss watch, and he consistently led Yanukovych in the polls. He seemed the likely winner. Desperate, Yanukovych asked Putin for advice. The Russian president's PR people offered a few suggestions. First, favor close relations with Russia, not with the West. Second, make Russian the second official language of the country. And third, run as a proud Ukrainian nationalist, not as an American puppet. One poster quickly showed up on billboards: the faces of Yushchenko

On Sunday evenings, there was a comparatively vast array of radio shows from which to choose. Frequently I would lie in my bed with my father, who would pull the covers over our heads and pretend that we were in a cave. This is how we would listen to shows such as Jack Benny, The Great Gildersleeve with Harold Peary, The Fred Allen Show, and The Edgar Bergen Show. As a ventriloquist, Edgar Bergen had Charlie McCarthy and the slow-witted Mortimer Snerd as puppets. For us the last show of the evening was always Your Hit Parade sponsored by Lucky Strike Cigarettes, starring Snooky Lanson, Gisele MacKenzie and a host of other well-known singers of that period. Although my father was a strict disciplinarian, on Sunday evenings he usually relaxed things and we would enjoy our time listening to the radio together.

Driggs turned to Lex. “What is happening right now?” “Couldn’t tell you,” said Lex, equally confused. “I’ll tell you what’s happening,” Broomie said, slamming her bottle down on the table. “That rotten-ass bastard LeRoy and his blind-ass puppets running this town like a stupid-ass carnival, that’s what.” She looked at the Juniors as if she expected them to have the capacity to respond. But there they sat, like a pile of open-mouthed dead fish. “I’m sorry,” Driggs said politely, folding his hands up under his chin, “but I’m going to have to ask you to rewind a little here.” “Rewind? Sure. Twenty years ago, China. Middle of a monsoon. My mother’s water had just broken, and my massive noggin showed no signs of slowing—” “Okay, fast forward,” Driggs jumped in. Pip looked ill. “Orphaned and shipped off to Australia?” Broomie suggested, as if offering chapter options from her autobiography. “Arrested after stealing half a million dollars’ worth of pearls? Freed by LeRoy and brought to DeMyse? Promoted to the second-highest office in the city?” “Okay, right there,” said Driggs. “Go.” She gave him a wide grin.

Dear Reader, In Claudia and Crazy Peaches, we get to know Aunt Peaches better, and to see the special relationship Claudia has with her aunt. I have three aunts — Aunt Adele, Aunt Martha, and Aunt Merlena — and I have special memories of all of them. Aunt Martha is my father’s sister-in-law. She and Uncle Lyman used to give my sister and me the best presents. One Christmas, when we were very little, they gave us stockings with garters. They were meant for grown women, and we thought they were hysterical! Another year they gave my sister a red cuckoo clock, and they gave me a music box with two dancing figures under a glass dome. I still have the music box. Aunt Merlena, my mother’s sister-in-law, was my only aunt who lived nearby. And she loved arts and crafts as much as I did. We made puppets together once, she showed me how to make doll clothes, and one summer day she invited me over especially so that we could make my birthday party invitations together. Aunt Adele is my father’s sister, and we are extremely close. We talk on the phone a lot, and we share a love of sewing and needlework. We exchange patterns in the mail, we give each other sewing tips, but mostly we just enjoy talking. I’m very lucky to have three such wonderful aunts — maybe that’s where the idea for Claudia and her wonderful aunt came from. Happy reading,

Walt Disney can take over television any time he likes. Yesterday afternoon, in a special holiday show at 4 o’clock over N.B.C., he momentarily relaxed his ban against television appearances by Mickey Mouse, Donald Duck, Pluto and the Seven Dwarfs. The result was one of the most engaging and charming programs of the year, an hour of make-believe that was altogether wonderful. As will surprise nobody, Mickey and his friends in Disneyland are perfect for TV. It’s not just that the cartoons reproduce superbly on the small screen of television. But after several years of video puppets, it is heady wine for a television viewer suddenly to partake of the imaginative fantasy and enticing humor which are the stamp of Mr. Disney’s genius. From 4 to 5 o’clock yesterday all ages could relax and laugh together.

Why do people with children bring them to work? This isn’t a place for children. There are no toys here. There are no changing stations. The drinking fountains are all set at adult heights. This is a workplace. People come here to get away from their kids—to get away from all talk of kids. If we wanted to work with children, we would get jobs at primary schools and puppet shows. We would walk around with peppermint sticks in our pockets. This is a newsroom. Do you see any peppermint sticks?

Find blaming the political puppet show for being a comedy, is like saying Punch is going to hit Judy, and then the Crocodile is coming.

Watching in dumb show and from a distance made the whole thing look like some strange strange puppet performance, utterly divorced from me and my life.