Sonja

“The decrepit building had been a beverage bottling plant once, though Dex would not have known this if Mosscap hadn’t explained. All Factory Age ruins looked the same. Hulking towers of boxes, bolts, and tubes. Brutal. Utilitarian. Visually at odds with the thriving flora now laying claim to the rusted corpse. But corpse was not an apt word for this sort of building, because a corpse was a rich resource—a bounty of nutrients ready to be divided and reclaimed. The buildings Dex was most used to fit this description. Decay was a built-in function of the City’s towers, crafted from translucent casein and mycelium masonry. Those walls would, in time, begin to decompose, at which point they’d either be repaired by materials grown for that express purpose, or, if the building was no longer in use, be reabsorbed into the landscape that had hosted it for a time. But a Factory Age building, a metal building—that was of no benefit to anything beyond the small creatures that enjoyed some temporary shelter in its remains. It would corrode until it collapsed. That was the most it would achieve. Its only legacy was to persist where it did not belong.”
― Becky Chambers, A Psalm for the Wild-Built

“Time damages as well as heals, and genuine historical understanding of human crimes is never easy and always achieved at the price of suffering. The loss of Dana's arm becomes, as Ruth Salvaggio has suggested, 'a kind of birthmark,' the emblem of a 'disfigured heritage.”
― Robert Crossley, Kindred

“Cee bit her lip, forcing herself not to look away, not to be the terrified child who could not bear to look directly at the slaughter that went on in the world, however ungodly. This time she did not cringe or close her eyes.”
― Toni Morrison, Home

“They acknowledged the innocent child hiding in the corner of their hearts, holding a sugar-and-butter sandwich. That one. The one who lodged deep in their fat, thin, old, young skin, and was the one the world had hurt. Or they thought of their son newly killed and remembered his legs in short pants and wondered where the bullet went in. Or they remembered how dirty the room looked when their father left home and wondered if that is the way the slim, young Jew felt, he who for them was both son and lover and in whose downy face they could see the sugar-and-butter sandwiches and feel the oldest and most devastating pain there is: not the pain of childhood, but the remembrance of it.

Then they left their pews. For with some emotions one has to stand. They spoke, for they were full and needed to say. They swayed, for the rivulets of grief or of ecstasy must be rocked. And when they thought of all the life and death locked into that little closed coffin they danced and screamed, not to protest God's will but to acknowledge it and confirm once more their conviction that the only way to avoid the Hand of God is to get in it.”
― Toni Morrison, Sula