Shadow Puppets Quotes

Julian once wrote that coincidences are the scars of fate. There are no coincidences, Daniel. We are puppets of our subconscious desires.

From shadow queen to puppet queen in one rule," he whispered. "That's very impressive. When he rules your country and he tells you he loves you, I hope you believe him." He anticipated her blow and leaned back. Her hand only brushed his cheek in an entirely unsatisfying manner. "At least that's one lie I didn't tell you.

It will hurt." said Petra. "But let's make the most of what we have, and not let future pain ruin present happiness.

I want to build spires in their minds and dance shadows through like marionettes, chased by whispers and hints of the unspeakable.

There are no condidences . We are puppets of our subconscious desires

So you love me," said Petra softly when the kiss ended. I'm a raging mass of hormones thet I'm too young to understand," said Bean. "You're a female of a closely related species. According to all the best primatologists, I really have no choice." That's nice," she said...

I settled back into his arm. “If you produce a flannel graph out of somewhere, you will make me very happy.” He smiled. He was smiling a lot these days. “No flannel graph. I do a mean shadow puppet, though.

Sometimes the hand pulls the puppet, sometimes the puppet pulls the hand, but the string runs both ways.

Mom," said Peter, "nobody thinks you're a lackwit, if that's what you're worried about." Lackwit? In what musty drawer of some dead English professor's dust-covered desk did you find that word? I assure you that never in my worst nightmares did I ever suppose that I was a lackwit.

I want to terrify little kids, too! I want to build spires in their minds and dance shadows through like marionettes, chased by whispers and hints of the unspeakable. I want to torture future generations with the Puppet That Bites.

Where ideas are real and reality is shadow.

For behold your body — A painted puppet, a toy, Jointed, sick and full of false imaginings, A shadow that shifts and fade.

And the same things look bent and straight when seen in water and out of it, and also both concave and convex, due to the sight’s being mislead by the colors, and every sort of confusion of this kind is plainly in our soul. And, then, it is because they take advantage of this affection in our nature that shadow painting, and puppeteering, and many other tricks of the kind fall nothing short of wizardry.

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.

But it was not the boyish grin she had known when he bounded along the low-gravity inner corridors of Battle School. This smile had weariness in it, and old fears long mastered but still present. It was the smile of wisdom.

But if you caught my informant,' said Achilles, 'why in the world would Chamrajnagar—or Graff, if it was him—launch the shuttle anyway? Was catching me doing something naughty so important they’d risk a shuttle and it’s crew just to catch me? I find that quite… flattering. Sort of like winning the Nobel Prize for scariest villain.

In the end it was only Peter who had something he could say from the heart. "Am I the only one here who sees something of himself in the man who's lying inside this box?" No one had an answer for him, either yes or no.

The only people who think children are carefree are the ones who’ve forgotten their own childhood.

You accomplish exactly as much as the people who serve you decide you'll accomplish, and nothing more.

What kind of rescue is this, where you toss the prisoner a knife and stand and wait to see what happens?

a silent concave of puppet buffoons neither eagles nor jaguars buzzard lawyers locuses wings of ink sawing mindibles ventriloquist coyotes peddlers of shadows beneficent satraps the cacomistle thief of hens the monument to the Rattle and its snake the altar to the mauser and the machete the mausoleum of the epauletted cayman rhetoric sculpted in phrases of cement

Take this. It’s one of my gothics. The seventies were, sadly, not the time to include sex scenes of any satisfying nature. When the lights go out, you can imagine the hero and heroine are lying in bed, fully clothed, making shadow puppets on the wall.

Besides," said Suriyawong. "This was not a rescue operation." "What was it, target practice? Chinese skeet?" "An offer of transportation to an invited guest of the Hegemon," said Suriyawong. "And the loan of a knife." Achilles held up the bloody thing, dangling it from the point. "Yours?" he asked. "Unless you want to clean it," said Suriyawong. Achillese handed it to him. Suriyawong took out his cleaning kit and wiped down the blade, then began to polish it. "You wanted me to die," said Achilles quietly. "I expected you to solve your own problems," said Suriyawong.

She thought that to children adult motives and actions must seem as bulking and ominous as dangerous animals seen in the shadows of a dark forest. They were jerked about like puppets, having only the vaguest notions why.

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.

The world is on fire! And are you laughing? You are deep in the dark. Will you not ask for light? For behold your body— A painted puppet, a toy, Jointed and sick and full of false imaginings, A shadow that shifts and fades. How frail it is! Frail and pestilent, It sickens, festers and dies. Like every living thing In the end it sickens and dies. Behold these whitened bones, The hollow shells and husks of a dying summer. And are you laughing?

I know you!' She insisted. 'No you don't. But that's all right, because I don't know me either, let alone you. We never understand anybody, not even ourselves.

But what kind of race is it, when the racers never let go of each other's hands, and the winner pulls the loser laughing over the finish line?

Still, it’s better to believe that some high purpose guides our steps than to think that nothing matters except our own small miseries and happinesses.

As they say, a word to the wise is sufficient. And here I’ve gone and written five paragraphs.

This story is about the eschatology of shadow puppets.

The thought-gathering was her idea. Now, six months later, I am still trying to gather them, but it's no use. They are shadow puppets, gray wisps flitting through my brain, and they refuse to be caught.

We caught the tread of dancing feet, We loitered down the moonlit street, And stopped beneath the harlot's house. Inside, above the din and fray, We heard the loud musicians play The 'Treues Liebes Herz' of Strauss. Like strange mechanical grotesques, Making fantastic arabesques, The shadows raced across the blind. We watched the ghostly dancers spin To sound of horn and violin, Like black leaves wheeling in the wind. Like wire-pulled automatons, Slim silhouetted skeletons Went sidling through the slow quadrille, Then took each other by the hand, And danced a stately saraband; Their laughter echoed thin and shrill. Sometimes a clockwork puppet pressed A phantom lover to her breast, Sometimes they seemed to try to sing. Sometimes a horrible marionette Came out, and smoked its cigarette Upon the steps like a live thing. Then, turning to my love, I said, 'The dead are dancing with the dead, The dust is whirling with the dust.' But she--she heard the violin, And left my side, and entered in: Love passed into the house of lust. Then suddenly the tune went false, The dancers wearied of the waltz, The shadows ceased to wheel and whirl. And down the long and silent street, The dawn, with silver-sandalled feet, Crept like a frightened girl.

How the moon triumphs through the endless nights! How the stars throb and glitter as they wheel Their thick processions of supernal lights Around the blue vault obdurate as steel! And men regard with passionate awe and yearning The mighty marching and the golden burning, And think the heavens respond to what they feel. Boats gliding like dark shadows of a dream Are glorified from vision as they pass The quivering moonbridge on the deep black stream; Cold windows kindle their dead glooms of glass To restless crystals; cornice dome and column Emerge from chaos in the splendour solemn; Like faery lakes gleam lawns of dewy grass. With such a living light these dead eyes shine, These eyes of sightless heaven, that as we gaze We read a pity, tremulous, divine, Or cold majestic scorn in their pure rays: Fond man! they are not haughty, are not tender; There is no heart or mind in all their splendour, They thread mere puppets all their marvellous maze.

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.

You don’t have to eat the entire turd to know that it’s not a crab cake.

If you think that,” said Bean, “you’re an idiot.” “Actually, I do think that, and I’m not an idiot.

You make her sound—what?—mentally deficient?” “Yes. She was incapable of holding on to malice. A serious defect.

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?

When Achilles is most useful and loyal to you, that is when he has most certainly betrayed you”?

To have Achilles’s gratitude was clearly a terminal disease.

I’m on his death list, too.” “Then why are you still alive?” asked Peter. “Because, contrary to widespread belief, Achilles is not a genius and he makes mistakes.

Lydea found Mag's knowledge astonishing, and had gotten into the habit of taking lessons with the prince. They helped each other study, sometimes with the aid of puppets.

Why do I feel a song coming on?" said Bean. The sarcastic words slipped out of him unbidden.

It was a language he had learned too late for it to come naturally to him. He would always speak the language of the heart with an awkward foreign accent. The

The future happiness of the human race depends on good people who want to live at peace with their neighbors, and who are willing to protect their neighbors from those who don’t want peace.

You’re a strange kind of boy,” said Achilles. “I was not tested for normality before I was entrusted with this mission,” said Suriyawong. “But I have no doubt that I would fail such a test.

Unless he’s really clever,” said Theresa. “Smarter than us?” said Peter. He and John Paul looked at each other. Then both of them shook their heads, said, “Naw,” and then burst out laughing.

Maybe we’re assigning Achilles supernatural powers,” said Petra. “He isn’t a god. Not even a hero. Just a sick kid.” “No,” said Bean. “I’m a sick kid. He’s the devil.” “Well, so,” said Petra, “maybe the devil’s a sick kid.

looking down at the Chinese officer who was trying to gather his entrails with his hands. Suriyawong had the irrational thought that the man ought really to wash his organs before jamming them back into his abdomen. It was so unsanitary.

How many times are you two going to have to save me from myself before this whole drama runs its course?” asked Peter. “I think…six times,” said Father. “No, eight,” said Mother. “You two think you’re so cute,” said Peter. “Mm-hm.” “Yep.

my courage is nothing but borrowed courage.” “Not borrowed,” said Mother. “Stored up. In us. Like a bank. We’ve seen your courage and we saved some for you when you temporarily ran out and needed some of it back.” “Cash flow problem, that’s all it was,” said Father.

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.

...For it is only when we profoundly understand our own true nature that we can experience the world and reality as it is, unfiltered. Free of the hooks that otherwise push and pull us in different directions. Until then, we are like puppets to the shadow world and our own social programming.

This is our recurring temptation—to live within our camp’s caves, taking turns both as the shadow-puppeteers and the audience. We chant our camp’s mantras repeatedly so they continue reverberating in our skulls. When we stay entrenched within our belief-camps, we create the illusion of secure reality by reinforcing each other’s presuppositions and paradigms. We choose specific watering holes of information and evidence, and we influence each other in interpreting that data in accordance with the conclusions we desire. Our camps reinforce our existing cognitive biases, making cheating all the more common and easy.

Longtime political followers will recall young Queen Amidala of Naboo. Four years ago she came to Coruscant and deposed the Chancellor to questionably hasten along aid for her home planet. Though no hard evidence of the Trade Federation’s misdeeds was ever produced, Amidala swayed the opinion of the Senate. Her speech, which was most likely written for her, given her age at the time, was stirring…and we can’t help wondering what she’ll stir up this time. Now a senator for the Galactic Republic, Amidala has returned. A puppet queen no longer, surely, but the question remains: who is pulling her strings now? —TriNebulon News

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

You're all fucking dead.' His voice is eerily calm and all the scarier for it. Every head in the room turns. 'Riorson!' Orsen's dagger clatters to the floor. 'You think surrendering will save you?' Xaden's lethally soft tone sends goose bumps up my arms. 'It is against our code to attack another rider in their sleep.' 'But you know he never should have bonded her!' Orsen puts his hands up, his palms facing us. 'You of all people have reason enough to want the weakling dead. We're just correcting a mistake.' 'Dragons don't make mistakes.' Xaden's shadows grab every assailant but Orsen by the throat, then constrict. They struggle, but it doesn't matter. Their faces turn people, the shadows holding tight as they sag to their knees, falling in an arc in front of me like lifeless puppets. I can't find it in my head to pity them. Xaden prowls forward as though he has all the time in the world and holds out his palm as yet another tendril of darkness lifts my discarded dagger from the floor. 'Let me explain.' Orsen eyes the dagger, and his hands tremble. 'I've heard everything I need to hear.' Xaden's fingers curl around the hilt. 'She should have killed you in the field, but she's merciful. That's not a flaw I possess.' He slashes forward so quickly that I barely catch the move, and Oren's throat opens in a horizontal line, blood streaming down his neck and chest in a torrent. He grabs for his throat, but it's useless. He bleeds out in seconds, crumpling to the floor. A crimson puddle grows around him. 'Damn, Xaden,' Garrick walks in, sheathing his sword as his gazes rakes over the room. 'No time for questioning?' His glance sweeps to me as if cataloguing injuries, catching on my throat. 'No need for it,' Xaden counters...

Whatever one may think of Platonic metaphysics, the political message is also clear in the allegory of the cave: the intermediary items, the “puppets,” are used as tools of manipulation to keep the shadow-watching masses in a state of perpetual ignorance: people actually fight and die over such shadows without ever realizing that there are higher, more “real” things.

Carapaces focused on their own shadows, using them to soar through the air on shadow wings or armor themselves. Puppeteers sent their shadows to do things in secret—in Charlie’s experience, largely the kind of foul shit no one wanted to talk about. And the masks weren’t much better, a bunch of creeps and mystics intent on unraveling the secrets of the universe, no matter who it hurt.

Petra looked at him as if he were an annoying child. “You really are dim,” she said. “I know he’s dangerous,” said Peter. “That’s why we have to be very careful how we handle this.” “Listen to him,” said Petra. “Saying ‘we.’” “There’s no ‘we,’” said Bean. “Good luck.” Still holding Petra’s hand, Bean started for the forest. Petra had only a moment to wave cheerily at Peter and then she was beside Bean, jogging toward the trees.

Here’s why I keep changing identities. First, they don’t have to decrypt the message to get information if they see patterns in our correspondence—it would be useful for them to know the frequency and timing of our correspondence and the length of our messages. Second, they don’t have to decrypt the whole message, they only have to guess our encrypt and decrypt codes. Which I bet you have written down somewhere because you don’t actually care whether I get killed because you’re too lazy to memorize. Of course I mean that in the nicest possible way, O right honorable Mr. Hegemon.

The pain and the sadness that you encounter when you lose something important is only a mix of one emotion: guilt. When you feel it once, you learn from it. When you live it twice, you mourn in silence. But if you experience it thrice, you will break, shattering like a frail piece of glass. But if you manage to survive, then you will only be a shadow of your soul: a broken doll. Because we are nothing more than mere puppets of Destiny, holding tightly on the string that keeps us from being consumed by the darkness. The string that will eventually lead humankind to its pinnacle. A simple red string named Hope.

The Harlot’s House. We caught the tread of dancing feet, We loitered down the moonlit street, And stopped beneath the harlot’s house. Inside, above the din and fray, We heard the loud musicians play The ‘Treues Liebes Herz’ of Strauss. Like strange mechanical grotesques, Making fantastic arabesques, The shadows raced across the blind. We watched the ghostly dancers spin To sound of horn and violin, Like black leaves wheeling in the wind. Like wire-pulled automatons, Slim silhouetted skeletons Went sidling through the slow quadrille. They took each other by the hand, And danced a stately saraband; Their laughter echoed thin and shrill. Sometimes a clockwork puppet pressed A phantom lover to her breast, Sometimes they seemed to try to sing. Sometimes a horrible marionette Came out, and smoked its cigarette Upon the steps like a live thing. Then, turning to my love, I said, ‘The dead are dancing with the dead, The dust is whirling with the dust.’ But she—she heard the violin, And left my side, and entered in: Love passed into the house of lust. Then suddenly the tune went false, The dancers wearied of the waltz, The shadows ceased to wheel and whirl. And down the long and silent street, The dawn, with silver-sandalled feet, Crept like a frightened girl.

March 1898 What a strange dream I had last night! I wandered in the warm streets of a port, in the low quarter of some Barcelona or Marseille. The streets were noisome, with their freshly-heaped piles of ordure outside the doors, in the blue shadows of their high roofs. They all led down towards the sea. The gold-spangled sea, seeming as if it had been polished by the sun, could be seen at the end of each thoroughfare, bristling with yard-arms and luminous masts. The implacable blue of the sky shone brilliantly overhead as I wandered through the long, cool and sombre corridors in the emptiness of a deserted district: a quarter which might almost have been dead, abruptly abandoned by seamen and foreigners. I was alone, subjected to the stares of prostitutes seated at their windows or in the doorways, whose eyes seemed to ransack my very soul. They did not speak to me. Leaning on the sides of tall bay-windows or huddled in doorways, they were silent. Their breasts and arms were bare, bizarrely made up in pink, their eyebrows were darkened, they wore their hair in corkscrew-curls, decorated with paper flowers and metal birds. And they were all exactly alike! They might have been huge marionettes, or tall mannequin dolls left behind in panic - for I divined that some plague, some frightful epidemic brought from the Orient by sailors, had swept through the town and emptied it of its inhabitants. I was alone with these simulacra of love, abandoned by the men on the doorsteps of the brothels. I had already been wandering for hours without being able to find a way out of that miserable quarter, obsessed by the fixed and varnished eyes of all those automata, when I was seized by the sudden thought that all these girls were dead, plague-stricken and putrefied by cholera where they stood, in the solitude, beneath their carmine plaster masks... and my entrails were liquefied by cold. In spite of that harrowing chill, I was drawn closer to a motionless girl. I saw that she was indeed wearing a mask... and the girl in the next doorway was also masked... and all of them were horribly alike under their identical crude colouring... I was alone with the masks, with the masked corpses, worse than the masks... when, all of a sudden, I perceived that beneath the false faces of plaster and cardboard, the eyes of these dead women were alive. Their vitreous eyes were looking at me... I woke up with a cry, for in that moment I had recognised all the women. They all had the eyes of Kranile and Willie, of Willie the mime and Kranile the dancer. Every one of the dead women had Kranile's left eye and Willie's right eye... so that every one of them appeared to be squinting. Am I to be haunted by masks now?

Two observations take us across the finish line. The Second Law ensures that entropy increases throughout the entire process, and so the information hidden within the hard drives, Kindles, old-fashioned paper books, and everything else you packed into the region is less than that hidden in the black hole. From the results of Bekenstein and Hawking, we know that the black hole's hidden information content is given by the area of its event horizon. Moreover, because you were careful not to overspill the original region of space, the black hole's event horizon coincides with the region's boundary, so the black hole's entropy equals the area of this surrounding surface. We thus learn an important lesson. The amount of information contained within a region of space, stored in any objects of any design, is always less than the area of the surface that surrounds the region (measured in square Planck units). This is the conclusion we've been chasing. Notice that although black holes are central to the reasoning, the analysis applies to any region of space, whether or not a black hole is actually present. If you max out a region's storage capacity, you'll create a black hole, but as long as you stay under the limit, no black hole will form. I hasten to add that in any practical sense, the information storage limit is of no concern. Compared with today's rudimentary storage devices, the potential storage capacity on the surface of a spatial region is humongous. A stack of five off-the-shelf terabyte hard drives fits comfortable within a sphere of radius 50 centimeters, whose surface is covered by about 10^70 Planck cells. The surface's storage capacity is thus about 10^70 bits, which is about a billion, trillion, trillion, trillion, trillion terabytes, and so enormously exceeds anything you can buy. No one in Silicon Valley cares much about these theoretical constraints. Yet as a guide to how the universe works, the storage limitations are telling. Think of any region of space, such as the room in which I'm writing or the one in which you're reading. Take a Wheelerian perspective and imagine that whatever happens in the region amounts to information processing-information regarding how things are right now is transformed by the laws of physics into information regarding how they will be in a second or a minute or an hour. Since the physical processes we witness, as well as those by which we're governed, seemingly take place within the region, it's natural to expect that the information those processes carry is also found within the region. But the results just derived suggest an alternative view. For black holes, we found that the link between information and surface area goes beyond mere numerical accounting; there's a concrete sense in which information is stored on their surfaces. Susskind and 'tHooft stressed that the lesson should be general: since the information required to describe physical phenomena within any given region of space can be fully encoded by data on a surface that surrounds the region, then there's reason to think that the surface is where the fundamental physical processes actually happen. Our familiar three-dimensional reality, these bold thinkers suggested, would then be likened to a holographic projection of those distant two-dimensional physical processes. If this line of reasoning is correct, then there are physical processes taking place on some distant surface that, much like a puppeteer pulls strings, are fully linked to the processes taking place in my fingers, arms, and brain as I type these words at my desk. Our experiences here, and that distant reality there, would form the most interlocked of parallel worlds. Phenomena in the two-I'll call them Holographic Parallel Universes-would be so fully joined that their respective evolutions would be as connected as me and my shadow.

his hands moved busily among the puppets, choosing, discarding, until they pounced finally on the moon with her crystal eyes and her hands shaped like stars. 'I will be the moon,' Kyel said. 'You must make a wish to me.' Lydea slid her fingers into the fox's head, with its sly smile and fiery velvet pelt. 'I wish,' she said, 'that you would take your nap.' 'No,' the prince said patiently, 'you must make a true wish. And I will grant it because I am the moon.' 'Then I must make a fox's wish. I wish for an open door to every hen house, and the ability to jump into trees.' The moon sank onto the blue hillock of Kyel's knee. 'Why?' 'So that I can escape the farmer's dogs when they run after me.' 'Then you should wish,' the prince said promptly, 'that you could jump as high as the moon.' 'A good wish. But there are no hens on the moon, and how would I get back to Ombria?' The moon rose again, lifted a golden hand. 'On a star.' The governess smiled. The fox stroked the prince's hair while he shook away the moon and replaced it with the sorceress, who had one amethyst eye and one emerald, and who wore a black cloak that shimmered with ribbons of faint, changing colors. 'I am the sorceress who lives underground,' the prince said. 'Is there really a sorceress who lives underground?' 'So they --' Lydea checked herself, let the fox speak. 'So they say, my lord.' 'How does she live? Does she have a house?' She paused again, glimpsing a barely remembered tale. 'I think she does. Maybe even her own city beneath Ombria. Some say that she has an ancient enemy, who appears during harsh and perilous times in Ombria's history. Then and only then does the sorceress make her way out of her underground world to fight the evil and restore hope to Ombria.' ... The sorceress descended, long nose down on the silk. Kyel picked another puppet up, looked at it silently a moment. The queen of pirates, whose black nails curved like scimitars, whose hair was a rigid knoll in which she kept her weapons, stared back at him out of glittering onyx eyes.

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.

... intellectuals seemed to think that their life - the life of the mind, the endless self examination, the continuous autobiography afflicted upon all comers-was somehow higher than the repetitive, meaningless lives of the common people. Virlomi knew the opposite to be true. The intellectuals in the university were all the same. They had precisely the same deep thoughts about exactly the same shallow emotions and trivial dilemmas. They knew this, unconsciously, themselves. When a real event happened, something that shook them to the heart, they withdraw from the game of university life, for reality had to be played out on a different stage. In the villages, life was about life, not about one-upmanship and display. Smart people were valued because they could solve problems, not because they could speak pleasantly about them.

And no matter how well we think we know people, the fact is we’re all strangers in the end.

There was a framed photograph hung on the wall in front of me, and when I said your name I saw you in the picture. Well, I saw your back, and your ling, bright ponytail fluttering. The image is black and white, and you're running, and you cast a number of shadows that cluster about you like a bouquet. There's a figure running a little ahead of you and at first that figure seems to be a shadow too, except that it casts a backward glance that establishes an entirely separate personality. The figure's features are wooden, but mobile-some sort of sprite moves within, not gently, but convulsively. A beauty that rattles you until you're in tears, that was my introduction to Rowan Wayland. You and the puppet-I decided it was a puppet- were leaping through an open door, and in the corner of that distant room was a cupboard, fallen onto its side There was a sign on the cupboard door. (I tilted my head: The sign read TOYS.) It's a photo in which lines abruptly draw back from each other and the ceilings and floors spin off in different directions, but for all the world that's pictured doesn't seem to be ending. You were both running in place, you blurred around the edges, and the puppet hardly blurred at all, and the puppet was looking back, not at you, but at me. It felt like the two of you were running for your lives, for fear I'd take them Or you could've been racing eaxh other home. TOYS, the sign reads, but signs aren't guarantees. Either way I wanted to go too, and wished the puppet would hold out its hand to me, or beckon me, or do something more than return my gaze with that strange tolerance

Oh, sweet puppet. Making love is for fools and those without a pulse. Fucking is for the living. For the feral. For people like us. I don’t want to make love to you, Hanna. I want to make sin with you. Make fire. Fire so hot you burn, and as you almost finish healing from that burn, I want to douse you again in my gasoline and burn us both to the ground.

That’s why I don’t want him to take our babies away from me. I must have them all, the way conquerors have had to have this city. I must have them. That is my empire.

This wasn’t about killing Bean—that was just a bonus. It was about getting Bean’s babies.

ombre chinoise shadow puppet • se découper en ~ sur le mur | to be silhouetted against the wall ombre à paupières eye shadow ombre portée shadow ombre propre dark side

Sire, should we really be dabbling in magic?” Hans whispered, “One of my uncles dabbled in it once, and now his right hand cannot stop making shadow puppets. It’s entertaining, but his hand is always cramped, and I couldn’t bear eternal hand cramps.

4. Ender's Saga by Publication Date Ender's Game (1985) Speaker for the Dead (1986) Ender's War (Ender's Game and Speaker for the Dead) (1991) Xenocide (1991) Children of the Mind (1996) Ender's Shadow (1999) Shadow of the Hegemon (2001) Shadow Puppets (2002) Shadow of the Giant (2005) A War of Gifts: An Ender Story (2007) Ender in Exile (2008) Shadows in Flight (2012) Earth Unaware (2012)

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

The metaphor of the cave explains how this works. It occurs in Book VII of Plato’s Republic, where Socrates describes the world around us as a darkened cavern, across the back of which a puppet show is flashed with the figures of men, animals, and objects cast as shadows. For a modern audience, the description has an eerily familiar ring. It’s the world of television and the media at its most flimsy and superficial.

it was Hitler’s mistakes, his weaknesses, his fears, his hatreds, that lost the back half of the war, just as it was his drive, his decisions, that won the front half.

War gets invented every time there’s somebody so hungry for domination that he can’t leave peaceful nations alone.

Truth did not care much about such credentials. It refused to give up and reveal itself just because it realized you were bound to find it eventually. Bean

They offered something that was genuinely good, and people’s lives were better because they offered it. It was not a noble cause that would get written up in the histories. But it was not nothing, either. A person could do worse than spend some large percentage of his life in a cause like that. Bean

Insouciant heroes aren’t brave or relaxed. They’re just trying not to embarrass themselves in the moments before they die. She

Children never do understand their own childishness. Then

it’s not unusual in history for the solution to one problem to become the root of the next one.

And because it was possible, there was a part of him that wanted to play it out, see where this path led. I

A man who embraces the voice of evil when it whispers in his ear is no less evil than the whisperer.

we humans do, when the cause is sufficient, spend our own lives. We throw ourselves onto the grenade to save our buddies in the foxhole. We rise out of the trenches and charge the entrenched enemy and die like maggots under a blowtorch. We strap bombs on our bodies and blow ourselves up in the midst of our enemies. We are, when the cause is sufficient, insane. They

humans will always act to preserve their own lives—except for the times when they don’t.

the kind of person on whom you could put all your hopes, who could carry all your fears, and he would not let you down, would not betray you. I

Ambition leads you to great risk. But ambition never leads you to certain destruction.” “Unless you’re a fool.

Are great men ever really good? I know they can be, but we judge them by a different standard. Greatness changes them, whatever they were to start with. It’s like war—does any war ever settle anything? But we can’t judge that way. The test of a war isn’t whether it solved things. You have to ask, Was fighting the war better than not fighting it? And I guess the same kind of test ought to be used on great men.

Call them stories. When things happen, we invent stories about them. About why they happened. That’s all science is, and history—stories about why things happen or happened. They are never, never true—never complete and always at least a little bit wrong, and we know it. But they’re true enough to be useful. I doubt our minds could even grasp the whole truth about anything—the nets of causality spread too wide to be held within a single mind. But the stories, the useful lies—we share those and pass them on and when we learn more we improve on them, or when we need different stories for new circumstances, we change them and pretend we always told them that way.” Ender

Mom,” said Peter, “nobody thinks you’re a lackwit, if that’s what you’re worried about.” “Lackwit? In what musty drawer of some dead English professor’s dust-covered desk did you find that word? I assure you that never in my worst nightmares did I ever suppose that I was a lackwit.

Here it is, Bean: Those stones in India? Virlomi started it, of course. Got a message from her: >Now you are not in cesspool, can communicate again. Have no email here. Stones are >mine. Back on bridge soon. War in earnest. Post to me only, this site, pickup name >BridgeGirl password not stepstool. At least I think that’s what “stones are mine” means. And what does “password not stepstool” mean? That the password is “not stepstool”? Or that the password is not “stepstool,” in which case it’s probably not “aardvark,” either, but how does that help?

I hate it when you ‘deal’ with me.” “OK, what if I ‘handle’ you instead?

My assignment from Graff, thought Theresa, is to become an assassin in order to protect my son. And the truly horrifying thing is that I’m not questioning whether to do it, but how. And when.

Shadows that children make on the wall,” said Petra, “and someone turns the light off.” “Or turns a brighter one on,” said Alai, “and the shadows disappear.

What if the first homo sapiens had felt that way? We’d all still be neanderthals, and when the Buggers came they would have blasted us all to bits and that would be that.” “We didn’t evolve from neanderthals,” said Bean. “Well, it’s a good thing we have that little fact squared away,” said Petra.