In the arms of his wooden siblings: Towards a study of nineteenth-century Italian puppet theatre literature around Carlo Collodi's Pinocchio (1881–83).

This article examines the deep connections between Carlo Collodi's *Pinocchio* (1881–83) and nineteenth-century Italian puppetry and related literature, focusing on how the novel reflects the cultural milieu of puppet theatre of its time. Through comparisons with works by Stendhal, Angelo Brofferio, Paul Ginasty, Pietro Coccoluto Ferrigni (alias Yorick figlio di Yorick), and Corrado Ricci, the study highlights three key motifs: the hanging puppet as a symbol of suspended animation and possible resurrection; the depiction of distinct puppeteer archetypes embodied by the characters Geppetto and Fire-Eater; and the influence of late-nineteenth-century technological innovations in puppet manipulation, particularly the transition to string-only marionettes exemplified by the Holden Method. The article argues that *Pinocchio* internalizes puppetry’s thematic, linguistic, and narrative elements, making it inseparable from the puppet theatre tradition rather than merely referencing it superficially.