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Jim McCrory

The Puppet on a String: What Will We Leave Behind?

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Edited by Jim McCrory, Sunday 26 July 2026 at 15:21

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The Puppet on a String: What Will We Leave Behind?

Henning Mankell had a rare gift for uncovering profound truths in the ordinary. In The Puppet on a String, he reflects on an archaeological discovery in the Czech Republic: the remains of a human being who lived some 25,000 years ago. Beside the skeleton lay something unexpected. Not a weapon. Not jewellery. Not a monument to power. Instead, archaeologists found 'a doll. A marionette. A puppet on a string.'

Mankell is deeply moved by this fragile object. To him, it is more than an artefact; it is a greeting across centuries.  A simple toy survives to whisper that the people who fashioned it laughed, imagined stories, entertained their children, and delighted in creativity. The puppet becomes a testimony that humanity has always been more than a struggle for survival. It reveals that even in the harsh world following an ice age, human beings made room for play, imagination and affection.

This is where the essay becomes profoundly existential. Mankell asks us not simply to admire the past but to confront the future. Every generation leaves something behind. The question is not whether we shall have a legacy, but what kind of legacy it will be.

His conclusion is deliberately unsettling. 'Those of us living today will not be sending puppets on a string into the future. Our legacy is nuclear waste.'

The contrast is devastating. One civilisation leaves behind evidence of its humanity. Another leaves behind evidence of its destructive power.

Whether one agrees entirely with Mankell's conclusion or not, the challenge is impossible to ignore. Modern society measures success by technological achievement, economic growth and scientific advancement. Yet the object that moves us most from prehistory is not an invention that conquered nature but a humble puppet that reminds us of the human heart. Progress has given us extraordinary abilities, yet it has not necessarily enlarged our wisdom.

Mankell's observation raises questions that lie at the heart of existential philosophy. What gives a human life significance? Is our purpose merely to consume, build and dominate, or is it found in the relationships, imagination and beauty we pass on? Long after our names have disappeared, what silent testimony will remain of the kind of people we were?

As a writer, I find these questions deeply personal.

If I were asked what I hope to leave behind, it would not be wealth or possessions. It would be words. Essays that encourage someone to think more deeply, to appreciate beauty, to wrestle honestly with truth, and perhaps to draw nearer to God. Unlike the puppet discovered beside that ancient skeleton, words leave no physical trace in the soil. Yet ideas have always possessed a strange resilience. They travel through books, conversations and memories, often outliving the buildings and empires that once appeared permanent.

There is, however, another dimension that Mankell leaves unexplored. The Christian Scriptures suggest that our greatest legacy is neither objects nor achievements but the influence our lives have upon other people. The apostle Paul spoke of believers themselves as 'letters... known and read by everyone' (2 Corinthians 3:2). Our character, our kindness and our faithfulness become a living message long before they become a written one.

The puppet on a string reminds us that people have always sought meaning beyond mere existence. The fact that a toy could survive centuries of burial and  touch modern hearts suggests that humanity possesses an enduring hunger for beauty, creativity and relationship. These are not accidental features of our species. They point to something woven into our very nature.

Mankell's final sentence is intentionally pessimistic. Yet history is not finished. Every generation still chooses what it will leave to those who follow. We may indeed leave behind polluted landscapes and dangerous technologies, but we can also leave behind compassion, wisdom, courage, truth and hope.

The ancient craftsman who carved that little puppet could never have imagined that people twenty-five thousand years later would smile at his work. In the same way, none of us knows how far the quiet influence of a thoughtful book, an act of kindness, or a life lived with integrity may travel.

That may be the deepest existential lesson of Mankell's remarkable reflection. Our lives are always speaking to the future. The only question is what they will say.

 

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Jim McCrory

The Writing Life: A Story From a Word

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Edited by Jim McCrory, Monday 29 September 2025 at 07:57

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The Writing Life: A Story From a Word

John Koenig, in The Dictionary of Obscure Sorrows, gave a name to a feeling I’ve carried for years without knowing it had one: kenopsia“the eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet.” It is the echo that lingers after a crowd has gone home, the stillness of a fairground stripped of its music, the hollow air of a derelict school once filled with shouts and chalk dust. And the sad, melancholy feeling when observing documentaries filmed in Chernobyl or the underwater filming of the Titanic.

I know that feeling well. I meet it every time I take the ferry across to Rothesay and walk the stretch of land between Bogany Farm and Canada Hill. Once, this place was alive: fifty or sixty cabins scattered like little wooden boats moored on the green, a harbour for those of us who needed an escape from the city’s hard edges. It was nothing grand, just a handful of huts and a strip of distant shoreline, but to us it was a world apart.

Evenings then were stitched together with barbeque, song, burnt toast, and smoke. Campfires flickering under the slow-turning stars, voices rising in unison to the songs of the day, the scent of wheat and barns hanging in the air. Children ran barefoot through the grass, their laughter spilling into the sea breeze, while adults leaned back in deckchairs, faces tilted towards the sun as if storing its warmth for the cold months ahead.

Memory is a generous painter. It smooths and gilds, washes everything in the soft glow of once. Like a Potemkin Village, hides the reality. And in that glow, people seemed gentler, lighter, closer to the best of themselves. Perhaps it was the rare gift of unhurried time, or the way the sea loosened the knots of worry. Or the place itself invited kindness, as if the salt wind whispered, you can breathe here. You can be human here.

Now, when I return, the cabins are gone. The field is overgrown, nettles shouldering their way through what was once a path. The songs have fallen silent; the laughter has retreated into the soil. I walk through the meadow and cows stare at me as if I’m an imposter and they have a history on this meadow. I feel like a ghost in my own story, trespassing in a memory too fragile to touch. Kenopsia seeps from the earth like a scent, not emptiness, but the faint outline of presence, a whisper of all that once was.

Robert Macfarlane wrote that “landscape is not a backdrop for human drama, but a participant in it.” Standing there, I know this to be true. The land remembers. It remembers the clatter of cutlery from picnic tables, the hiss of sausages over a smoky fire, the hush of whispered promises under a summer moon. It remembers us — the ordinary people who once turned this patch of ground into a temporary kingdom of joy.

Such places ache because they remind us that time is both thief and gift. They show us what we’ve lost, but also what we once had and how deeply it mattered. The meadow between Bogany Farm and Canada Hill is no longer a holiday haven. Yet in walking it, I walk back into my own boyhood, into a world where joy was simpler and people seemed, if only for a moment, to rise into the best version of themselves.

Perhaps that is the strange mercy of kenopsia: that it is not simply emptiness but memory’s afterglow. It is the ghost light left on in the theatre after the play is over — a small, stubborn flame that says, something beautiful happened here.

Image by Copilot

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