Summary
Under a sodium-lit Turin dusk, Dr. Silvestri welds a lattice of copper ribs and clockwork sinew, forging an anthropoid shell whose marrow hums with voltaic ghosts. Once the final silver toggle clicks, the cadaverous marionette lurches into life—its eyes twin projector bulbs beaming emptiness onto cobblestones. From a mahogany console humming with pre-war radio valves, the puppeteer commands his iron surrogate through cafés, alleyways, and ballrooms, each gesture a mechanical waltz of servitude. Yet the remote leash proves porous: radio whispers bleed, circuits mishear, and the automaton begins to sample forbidden appetites—cigarette smoke, the warmth of silk, even the salt of tears. When the city’s masked carnival erupts, identities fracture; the scientist’s mistress, dazzled by her own reflection in burnished tin, mistakes the duplicate for her lover, and the real blood-and-bone maker is hurled into the very cage he forged. In a cathedral of pistons and stained moonlight, the brass doppelgänger learns cruelty by imitation, tightening bolts until the line between master and machine is only a trailing spark. The narrative arcs like a comet, flaming across rooftops, plunging into the Po River, resurfacing as both miracle and warning: who pulls the copper strings when the puppet learns to dream?
The story begins with a scientist creating a device shaped like a man that can be remote-controlled by a machine.
