Overview

A boy of carved acacia and oak walks seventeenth-century Italy... and the air forgets how to breathe around him. Once, he sang in chapels and piazzas with a voice that could move crowds like incense moves a prayer; now that voice is sealed under bronze, and his silence itself unsettles priests, guilds, and witnesses. The Church stops calling him miracle and starts calling him blasphemy. They prepare an exorcism-not to drive out a demon, but to split ""soul"" from ""body"" and prove that whatever thinks and aches inside the puppet was never meant to count as a soul at all. He answers without spectacle. He chooses what to hurt and what to spare. He leaves marks instead of massacres so that fear travels farther than blood. Word spreads in candlelight and confessionals: the wooden abomination walks, and he is not obedient. Power closes in. Yahweh's angels descend in copper and fire to erase him. Hunters move through ruined paths and silent towns, tracking him as quarry. Constel-the cold star goddess who speaks in terms of balance-watches his steps. Villages start carving rough figures of the muzzled boy, setting offerings at their feet and whispering to the one they call Arbiter. He does not ask to be worshiped. He does not trust to be worshiped. People do it anyway. He is pressed from all sides: Heaven wants him gone, the Church wants him opened, mortals want him claimed. What he wants is forbidden and simple-to choose what he is, and to keep what he loves, without bowing to any of them. In the end, The Exorcism of Pinocchio is a baroque tragedy of faith and defiance-a puppet's revolt against both heaven and humanity. It asks whether holiness survives when creation itself refuses obedience, and whether silence, once divine, can become the final form of love. Step inside if you want candlelit gothic horror and theological dark fantasy-ritual, intimate, edged with reverence; if you want worship turned into control, love treated as contraband, and a made thing daring to say no.

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