Renee Godding
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Renee Godding

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Arborescence
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Feb 20, 2026 02:34PM

 
The Dead of Summer
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Feb 21, 2026 06:51AM

 
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T. Kingfisher
“Finally one of my teachers took me aside and said: ‘Manuel, you are not God. You aren’t omnipotent. Wanting to help is good, but this belief that you, personaly, have so much power to affect the universe is starting to border on personal idolatry.’” He snorted. “He wasn’t wrong.”
“Did that help?” Selena asked.
“Not really, but at least then I felt guilty about feeling guilty, which is very catholic.”
T. Kingfisher, Snake-Eater

Sarah Moss
“There’s no notation of ballet. It has to be passed on in real time, one living body to another. If a dancer dies without teaching the dance, the dance dies too. Of course there are films of people dancing Gisele, but for over a 100 years it had been passed between muscle and bone, and no version was present except in the moment. Dance, I thought, is presence. It is movement in the absence of past and future time.”
Sarah Moss, Ripeness

“In a way, I thought, our bodies are just containers. I’d always assumed that we have the capacity to absorb the world, to endlessly store everything that we come across. But as we sat there in silence, I began to question whether there were, in fact, things that could overflow from us. Is that what the Beacons were: people who had become too full?”
An Yu, Sunbirth

“Romantic love was a clear-cut institution, bolstered by orthodoxy and ritual. When a man lost his wife, it was expected that his world would unravel. But friendship… friendship was a wilderness with no guide. There were no courting rituals one might follow to pursue it, and little sympathy for the gut-wrenching horror of its loss.”
Sheldon Costa, The Great Work

Claire Gleeson
“They are not here, her children. Not anymore. She finds them elsewhere sometimes. In the first smiles of her baby son, and the way his hair curls after a bath. They are in the high teenage voices of other children; girls the age her daughter would be now, with their gossamer clothing and their eyes lined in black uncertain rings. Her son, she finds sometimes in the gangs passing home from the primary school at the end of the road. The shove and snigger of them. The new unchildlike smell. And sometimes she sees them in her own face as she stares into the mirror after a night of broken milk-downed sleep, and counts the new lines around her eyes.
And she supposes, they are with Tom too. And she hopes that this is a solace and not a haunting.”
Claire Gleeson, Show Me Where It Hurts

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