A doctor’s apparent suicide sets off alarm bells for Detective Inspector Thanet, “a shrewd yet compassionate observer of aberrant human behavior” (The New York Times). The Hippocratic oath binds medical professionals to a lifetime of helping fellow human beings. For a doctor to kill himself is not just to renege on that pledge, but to betray all mankind. When Dr. Arnold Pettifer is found dead from an overdose of pills and alcohol, Det. Inspector Luke Thanet’s first reaction is disgust. His second is suspicion: This, he thinks, is murder. Nothing in Pettifer’s life would point to suicide. He had a prospering practice, money in the bank, a beautiful new wife, and a baby on the way. But when Inspector Thanet learns that Pettifer’s wife had taken a lover, he begins to suspect her—only to find that nothing about the death of Dr. Pettifer is as obvious as it may seem. This CWA Silver Dagger–winning series set in the Kent countryside is beloved by fans of the classic English mystery. Puppet for a Corpse showcases the talents of police inspector Thanet, “a subtle interviewer with a genius for reading character” (The New York Times). Puppet for a Corpse is the 3rd book in the Inspector Thanet Mysteries, but you may enjoy reading the series in any order.

This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world. The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally. This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

Women and Puppetry is the first publication dedicated to the study of women in the field of puppetry arts. It includes critical articles and personal accounts that interrogate specific historical moments, cultural contexts, and notions of "woman" on and off stage. Part I, "Critical Perspective," includes historical and contemporary analyses of women’s roles in society, gender anxiety revealed through the unmarked puppet body, and sexual expression within oppressive social contexts. Part II, "Local Contexts: Challenges and Transformations," investigates work of female practitioners within specific cultural contexts to illuminate how women are intervening in traditionally male spaces. Each chapter in Part II offers brief accounts of specific social histories, barriers, and gender biases that women have faced, and the opportunities afforded female creative leaders to appropriate, revive, and transform performance traditions. And in Part III, "Women Practitioners Speak," contemporary artists reflect on their experiences as female practitioners within the art of puppet theatre. Representing female writers and practitioners from across the globe, Women and Puppetry offers students and scholars a comprehensive interrogation of the challenges and opportunities that women face in this unique art form.

He was a talented youth, but he had been schemed to lose all of his strength. In the God of Heaven Continent, where strength reigned supreme, just how could he ever step foot onto the peak again? How could he kill his enemy? Was he just drinking his hatred or rising up to fight? I used my blood to purify the righteous energy of the world; I used my anger and rage to burn away the evil winds of the Buddha! QQ Bookmates: 327629138 

He was the most powerful Divine General of his generation, yet he was condemned as a God. The God of Slaughter, Samsara, the man who died with grievances, annihilated the three kingdoms, won ten thousand academies, trespassed into the Demon Area, conquered the human world, conquered the Spirit Realm, fought the Beast World, and entered the Six Daos. How could the mighty God of Slaughter fear the heavens?

"A three-foot-long blade wielded the power of the sword in the martial arts world. It is a blessing in disguise." "With so many beauties around, countless heroes have to bow in front of them." How many of the children of the martial arts world were buried in other villages, and how many heroes were unable to extricate themselves from their power and desire? It was the story of modern people traversing the ancient martial arts world, unwittingly seeking their own name, admitting themselves as masters, travelling the martial arts world, and pursuing martial arts. Close]

He was the instructor of a mysterious troop and the number one soldier that all forces feared when he returned to the city and the dragons entered the sea he was also a prodigal who had fallen into the trap of millions of young ladies.