Mouse works in the scullery at Dunston Manor, peeling onions, stirring the pots, sweeping the floors, and doing her best not to get into trouble with the fractious cook. Alone at night in the dark corner she calls home, she wishes for something wondrous to happen and dreams of a better life. But what chance does she have, a girl born with nothing, not even a proper name? Then Mouse sees a puppet play and knows at once what she must do. Somehow she must learn to make the puppets dance. Somehow she must become the puppeteer's apprentice. But the puppeteer is harboring some uncomfortable secrets, and Mouse doesn't know whether she has the courage it takes to fulfill her dreams. How Mouse finds her place in the world, and a very special name, is the heart of this thoroughly absorbing and remarkable story set in medieval England.

A medieval orphan girl called Mouse gains the courage she needs to follow her dreams of becoming a puppeteer's apprentice.

A medieval orphan girl called Mouse gains the courage she needs to follow her dreams of becoming a puppeteer's apprentice.

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?

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....

Linking actual instances of language use with structures of social power in francophone Belgium, Gross outlines the history and contemporary configuration of rod puppetry in Liège. The analysis of this working class performance art moves between what occurs on and off stage. As puppeteers speak in other voices, sometimes in Walloon and sometimes in French, they create a sociolinguistic model based on 19th century renditions of medieval texts, the voices of past puppeteers, and the language that surrounds them. The high level of linguistic reflexivity created by the regional language movement has led to frequent metalinguistic and metapragmatic commentaries within the puppet shows. This complex speech genre embedded in social context shows the influence of identity struggles: from local class oppositions to imperial designs abroad. Keeping a tight focus on language, Speaking in Other Voices examines the process of entextualization and recontextualization as stories of war and religion are transmitted to succeeding generations.