Impressed by the work of the puppetmaster and his apprentice, Tavia’s ruler, The Margrave, has ordered dozens of life-size marionette soldiers to be sent to Wolfspire Hall. When the orders for more soldiers come in with increasingly urgent deadlines, the puppetmaster’s health suffers and Pirouette, his daughter and protégé, is left to build in his stead. But there is something far more twisted brewing at Wolfspire—the Margrave’s son wants Pirouette to create an assassin. And he wants her to give it life. With Tavia teetering on the brink of war and her father dying in the dungeons, Pirouette has no choice but to accept. Racing against the rise of the next blue moon—the magic that will bring her creations to life—she can't help but wonder, is she making a masterpiece...or a monster?

Donald Trump isn't a despot. But he is increasingly acting like a despot's apprentice. Whether it's attacking the press, threatening the rule of law, or staffing the White House with family members and cronies, Trump is borrowing moves from the world's dictators. The president's bizarre adoration of global strongmen has also transformed US foreign policy into a powerful force cheerleading some of the world's worst regimes. An expert on authoritarianism, Brian Klaas is well placed to recognise the warning signs of tyranny. He argues forcefully that with every autocratic tactic or tweet, Trump further erodes democratic norms in the world's most powerful democracy. The Despot's Apprentice is an urgent exploration of the unique threat that Trump poses to global democracy--and how to save it from him before it's too late.

Who is the man called Sabura, the mysterious bandit who robs the rich and helps the poor? And what is his connection with Yosida, the harsh and ill- tempered master of feudal Japan's most famous puppet theater? Young Jiro, an apprentice to Yosida, is determined to find out, even at risk to his own life. Meamwhile, Jiro devotes himself to learning puppetry. Kinshi, the puppet master's son, tutors him. When his sheltered life at the theater is shattered by mobs of hungry, rioting peasants, Jiro becomes aware of responsibilities greater that his craft. As he schemes to help his friend Kinshi and to find his own parent, Jiro stumbles onto a dangerous and powerful secret....

"Indonesia's wayang golek puppet theater is among the world's oldest and richest puppetry traditions, contemporary with Japanese Noh drama and the mystery plays of Europe. The puppet masters, many of whom trace their skills back through seven or eight generations, are extraordinary artists. Some are shamans, and many are charismatic performers. The master carvers who create these three-dimensional wooden puppets boast similarly impressive genealogies, and their work draws equally on ancient mystical practices. As the puppet master Tizar Purbaya once explained, "The wayang puppet is not a doll. It follows the dalang [puppet master], but the dalang must also follow it. He gives it soul and it, in return, gives life to him."" "Voices of the Puppet Masters is based on five years of intensive research in Indonesia, including hundreds of hours of discussions and interviews with puppet masters and craftsmen. The author and her Indonesian collaborator visited the artists in their homes, in villages scattered across the length and breadth of Java, attending performances, and even participating in an exorcism ceremony. These performances typically last for many hours, sometimes through the night - theatrical extravaganzas blending religious mysticism with all of the frailties and strengths of the human condition, accompanied by song and a gamelan orchestra"--Publisher's description.

Since 1954, a discrete and select group of wealthy and powerful individuals have attended a private, yearly conference to discuss matters of their choosing. This group represents European and North American elites, as well as new talent and rising stars, from the worlds of politics, business, media, academia, the military and even royalty, and has included household names such as Margaret Thatcher, Henry Kissinger and even Prince Philip. In recent years their number have featured David Cameron, Tony Blair, Angela Merkel, Bill Clinton and David Rockefeller. These are ‘the Bilderbergers’, named after the hotel where their secret gatherings were first hosted. What is their purpose, why do they meet, and what do they want? Investigative writer Gerhard Wisnewski explores the numerous claims of conspiracy that swirl around the group, revealing names of participants, their agendas and their goals. The scene opens in the sun-kissed seaside resort of Vouliagmeni, Greece, where Wisnewski attempts to observe and report on a Bilderberg conference. He soon attracts aggressive attention from police and undercover security, and it is made abundantly clear he is not welcome. From this rude introduction, Wisnewski works backwards to the founding of the Bilderbergers in 1954 by a shadowy Jesuit with secret service allegiances. Examining records and hidden reports, Wisnewski uncovers the true history of the organization, the alliances among key individuals and their common interests. Are the Bilderbergers puppet-masters, pulling strings behind the scenes? Are plans afoot to create a global government and a new political system? To what extent do they represent a clandestine super-government? This book offers a unique view into the workings of power, and the secret methods of those who seek to govern and control behind the scenes.

A groundbreaking, cross-cultural reference work exploring the diversity of expression found in rituals, festivals, and performances, uncovering acting techniques and practices from around the world. Acting: An International Encyclopedia explores the amazing diversity of dramatic expression found in rituals, festivals, and live and filmed performances. Its hundreds of alphabetically arranged, fully referenced entries offer insights into famous players, writers, and directors, as well as notable stage and film productions from around the world and throughout the history of theater, cinema, and television. The book also includes a surprising array of additional topics, including important venues (from Greek amphitheaters to Broadway and Hollywood), acting schools (the Actor's Studio) and companies (the Royal Shakespeare), performance genres (from religious pageants to puppetry), technical terms of the actor's art, and much more. It is a unique resource for exploring the techniques performers use to captivate their audiences, and how those techniques have evolved to meet the demands of performing through Greek masks and layers of Kabuki makeup, in vast halls or tiny theaters, or for the unforgiving eye of the camera.

Mexico City was the Casablanca of the Cold War—a hotbed of spies, revolutionaries, and assassins. The CIA's station there was the front line of the United States' fight against international communism, as important for Latin America as Berlin was for Europe. And its undisputed spymaster was Winston Mackinley Scott. Chief of the Mexico City station from 1956 to 1969, Win Scott occupied a key position in the founding generation of the Central Intelligence Agency, but until now he has remained a shadowy figure. Investigative reporter Jefferson Morley traces Scott's remarkable career from his humble origins in rural Alabama to wartime G-man to OSS London operative (and close friend of the notorious Kim Philby), to right-hand man of CIA Director Allen Dulles, to his remarkable reign for more than a decade as virtual proconsul in Mexico. Morley also follows the quest of Win Scott's son Michael to confront the reality of his father's life as a spy. He reveals how Scott ran hundreds of covert espionage operations from his headquarters in the U.S. Embassy while keeping three Mexican presidents on the agency's payroll, participating in the Bay of Pigs fiasco, and, most intriguingly, overseeing the surveillance of Lee Harvey Oswald during his visit to the Mexican capital just weeks before the assassination of President Kennedy. Morley reveals the previously unknown scope of the agency's interest in Oswald in late 1963, identifying for the first time the code names of Scott's surveillance programs that monitored Oswald's movements. He shows that CIA headquarters cut Scott out of the loop of the agency's latest reporting on Oswald before Kennedy was killed. He documents why Scott came to reject a key finding of the Warren Report on the assassination and how his disillusionment with the agency came to worry his longtime friend James Jesus Angleton, legendary chief of CIA counterintelligence. Angleton not only covered up the agency's interest in Oswald but also, after Scott died, absconded with the only copies of his unpublished memoir. Interweaving Win Scott's personal and professional lives, Morley has crafted a real-life thriller of Cold War intrigue-a compelling saga of espionage that uncovers another chapter in the CIA's history.