Kat Clay
Goodreads Author
Born
in Australia
Website
Genre
Influences
Margaret Atwood, China Mieville, Jane Austen, James Ellroy, Megan Abbo
...more
Member Since
February 2012
URL
https://www.goodreads.com/katclay
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Dangerous Visions and New Worlds: Radical Science Fiction, 1950 to 1985
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published
2021
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4 editions
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Double Exposure
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published
2015
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4 editions
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And Then... The Great Big Book of Awesome Adventure Tales! Vol 1
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published
2016
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4 editions
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Midnight Echo 17
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The Hammersmith Haunting
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Aurealis #128
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published
2020
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CHM Magazine, Issue 25, July 2022
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published
2022
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Kat’s Recent Updates
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Kat
is currently reading
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Kat
is currently reading
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Kat
has read
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| Do not be misled by the cute cat and cosy cover. There's a sex club in Chapter 3 🫣😳. You have been warned! ...more | |
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Kat
rated a book really liked it
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| I understand this is going to be a divisive book for some but I loved the banter between the main characters. There's nothing I love more than broody man being undone by a whirlwind who sees straight through him. ...more | |
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Kat
wants to read
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Kat
is currently reading
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Kat
rated a book it was amazing
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| I want to write a longer review for this but the short story is, this is 🔥🔥🔥🔥. Moments of Neruda and Paz emerge alongside a completely original voice. I've read Dropbear and Araluen's prose, and this is her best yet. Going to win all the awards next ...more | |
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Kat
finished reading
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Kat
rated a book it was amazing
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| I want to write a longer review for this but the short story is, this is 🔥🔥🔥🔥. Moments of Neruda and Paz emerge alongside a completely original voice. I've read Dropbear and Araluen's prose, and this is her best yet. Going to win all the awards next ...more | |
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Kat
started reading
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“Thus they went on living in a reality that was slipping away, momentarily captured by words, but which would escape irremediably when they forgot the values of the written letters.”
― One Hundred Years of Solitude
― One Hundred Years of Solitude
“There are all kinds of silences and each of them means a different thing. There is the silence that comes with morning in a forest, and this is different from the silence of a sleeping city. There is silence after a rainstorm, and before a rainstorm, and these are not the same. There is the silence of emptiness, the silence of fear, the silence of doubt. There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.”
― West with the Night
― West with the Night
“No lists of things to be done. The day providential to itself. The hour. There is no later. This is later. All things of grace and beauty such that one holds them to one's heart have a common provenance in pain. Their birth in grief and ashes.”
― The Road
― The Road
“If you lose your ego, you lose the thread of that narrative you call your Self. Humans, however, can't live very long without some sense of a continuing story. Such stories go beyond the limited rational system (or the systematic rationality) with which you surround yourself; they are crucial keys to sharing time-experience with others.
Now a narrative is a story, not a logic, nor ethics, nor philosophy. It is a dream you keep having, whether you realize it or not. Just as surely as you breathe, you go on ceaselessly dreaming your story. And in these stories you wear two faces. You are simultaneously subject and object. You are a whole and you are a part. You are real and you are shadow. "Storyteller" and at the same time "character". It is through such multilayering of roles in our stories that we heal the loneliness of being an isolated individual in the world.
Yet without a proper ego nobody can create a personal narrative, any more than you can drive a car without an engine, or cast a shadow without a real physical object. But once you've consigned your ego to someone else, where on earth do you go from there?
At this point you receive a new narrative from the person to whom you have entrusted your ego. You've handed over the real thing, so what comes back is a shadow. And once your ego has merged with another ego, your narrative will necessarily take on the narrative created by that ego.
Just what kind of narrative?
It needn't be anything particularly fancy, nothing complicated or refined. You don't need to have literary ambitions. In fact, the sketchier and simpler the better. Junk, a leftover rehash will do. Anyway, most people are tired of complex, multilayered scenarios-they are a potential letdown. It's precisely because people can't find any fixed point within their own multilayered schemes that they're tossing aside their own self-identity.”
― Underground: The Tokyo Gas Attack and the Japanese Psyche
Now a narrative is a story, not a logic, nor ethics, nor philosophy. It is a dream you keep having, whether you realize it or not. Just as surely as you breathe, you go on ceaselessly dreaming your story. And in these stories you wear two faces. You are simultaneously subject and object. You are a whole and you are a part. You are real and you are shadow. "Storyteller" and at the same time "character". It is through such multilayering of roles in our stories that we heal the loneliness of being an isolated individual in the world.
Yet without a proper ego nobody can create a personal narrative, any more than you can drive a car without an engine, or cast a shadow without a real physical object. But once you've consigned your ego to someone else, where on earth do you go from there?
At this point you receive a new narrative from the person to whom you have entrusted your ego. You've handed over the real thing, so what comes back is a shadow. And once your ego has merged with another ego, your narrative will necessarily take on the narrative created by that ego.
Just what kind of narrative?
It needn't be anything particularly fancy, nothing complicated or refined. You don't need to have literary ambitions. In fact, the sketchier and simpler the better. Junk, a leftover rehash will do. Anyway, most people are tired of complex, multilayered scenarios-they are a potential letdown. It's precisely because people can't find any fixed point within their own multilayered schemes that they're tossing aside their own self-identity.”
― Underground: The Tokyo Gas Attack and the Japanese Psyche
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