Wet Goddess Quotes

We've searched our database for all the quotes and captions related to Wet Goddess. Here they are! All 27 of them:

Don't die on me," she whispered when the clock struck midnight and he still had not moved. "It's only a little shoulder wound. Goddess, George-don't die on me." His eyes flickered open and he smiled. "I didn't know you cared," he whispered. "And why insult me? I won't die for a wee nick like this; I've had worse in my day." Alanna wiped her wet cheeks. "Of course I care, you unprincipled pickpocket!" she whispered. "Of course I care.
Tamora Pierce (In the Hand of the Goddess (Song of the Lioness, #2))
I want to stick my cock into your pussy. Don’t worry—I’ll get you nice and ready first. Open you up with my fingers, make sure you’re so wet and hot that when you wrap around me, it’ll feel like I’m fucking a goddess because you’re goddamn perfect, London. I can’t wait to feel your cunt squeezing me. Lick your clit, taste you . . . It’ll be good between us. You know it will.
Joanna Wylde (Reaper's Stand (Reapers MC, #4))
imagine the desert mothers, with hair tangled tighter than their theology and breasts that flowed milk and mystic wisdom. they knew how to draw the singing sigils in the sand, how to dig rough and bitten fingers into desiccated dirt for water to wet the lips of their young. women of hips and heft, who learned how to burn beneath the wild and searing sun, who made loud love against the star-flecked threat of night, who knew that strength is not always a matter of muscle. imagine your ancestresses, the prophetesses of the arid lands, before these starched traditions and pews too hard to pray from, who bled true ritual and birthed their own fierce souls at creation's crowning --
Beth Morey (Night Cycles: Poetry for a Dark Night of the Soul)
Her skin is cold, and clammy; her eyes are the color of sky, on the grey, wet days that leach the world of color and meaning; her voice is little more than a whisper; and while she has no odor, her shadow smells mucky, and pungent, like the skin of a snake. Many years gone, a sect in what is now Afghanistan declared her a goddess, and proclaimed all empty rooms her sacred places. The sect, whose members called themselves The Unforgiven, persisted for two years, until its last adherent finally killed himself, having survived the other members by almost seven months. Despair says little, and is patient.
Neil Gaiman (The Absolute Sandman, Volume 1)
purple threaded evening. a torn goddess laying on the roof. milk sky. lavender hued moan against hot asphalt. the thickness of evening presses into your throat. polaroids taped to the ceiling. ivy pouring out of the cracks in the wall. i found my courage buried beneath molding books and forgot to lock the door behind me. the old house never forgets. opened my mouth and a dandelion fell out. reached behind my wisdom teeth and found sopping wet seeds. pulled all of my teeth out just to say i could. he drowned himself in a pill bottle and the orange really brought out his demise. lay me down on a bed of ground spices. there’s a song there, i know it. amethyst geode eyes. cracked open. no one saw it coming. october never loved you. the moon still doesn’t understand that.
Taylor Rhodes (calloused: a field journal)
The dense fog manifests ever-living gravestones, the tunes of decadence, the hearts that were doomed to dance alone. Here lies untouched beauty, a brittle dream, an unseen sea-born nightmare, an isolated acheirous harf, fishbones without flesh, a face without letters, the hypnotic power o Apollonian destruction. Ashes kiss the grapefruit essential oil skin, the soul beats with eaten sons and daughters, soaking wet serpents with cuspid tongues lollop for legendary goddesses.
Laura Gentile (Seraphic Addiction)
May we enter, my goddess? I have a nervous old woman out here who is about to wet himself with worry that his brother is dead." Caleb
Sherrilyn Kenyon (Dark Bites (Dark-Hunter #22.5; Hellchaser, #0.5; Dream-Hunter, #0.5; Were-Hunter, #3.5))
It’s the job of the soul to stretch out across the body of the desert and touch, without skin or fingers or nerves, the hidden creek that wets our knowledge of who we are. Who we are before and after. Who we are when we’re alone and a goddess looks into our eyes, looks into our dreams and says, yes. I see you clearly.
Laurie Perez (Virga in Death Valley)
I hurled myself under the covers, naked and half wet, grabbing my phone on the way. - don't come nevermind - I heard a phone dine from the living room and, soon after, a voice so close it shocked me. "Too late," Jonathan said. "Your front door was open." -go away - a blast of cold air hit me as the covers were moved, and in the next breath, I caught his new scent. He pulled the covers over us just as his phone dinged. He pressed his front to my back, spooning me, this clothes taking on the dampness I hadn't gotten around to toweling off. "I'm sorry Monica. He put his face in my wet hair and draped his arm around me. "Ah. What's this text I have here? It says go away." I sniffled. He slid his arm under my neck and held the phone in front of our faces with both hands. His breath tickled my ear. "Let me text back. Hang on." -I'd rather be here for you - I waited for it to appear on my phone. He nuzzled into the hair pooling at the back of my neck as i typed back. - And then what? - His fingers flew across the glass. - And let's talk about the rest later. Today, you are the goddess my universe revolves around. -
C.D. Reiss (Submit (Songs of Submission, #3))
She should have looked ridiculous, standing there wet and bedraggled in her silly underwear, but she looked magnificent. Like some kind of mythical goddess rising from the mists of time. Statuesque, utterly feminine. Breathtaking.
Sarah Mayberry (All They Need (Porter Siblings #1))
So damn beautiful. You look like a goddess. Like a warrior. Like you could slay me and you do. Just looking at you ruins me. I love to look at you. I could look at you lying spread like this forever. Open to me, wet and flushed—forever and never grow tired.
Skye Warren (The Beauty Series (Beauty, #1-4))
People throughout Hellas had built shrines of wood and living things to Kore and to her mother aeons ago, maintaining them generation after generation. Her private sanctums were always open to the sky, the sunlight, the honeybees and birds that helped her tend to the new shoots and flowers. One of Kore's favorite sacred places lay in this very clearing at the base of the oak tree. Clusters of white larkspur grew up the perfect circle of green willow shoots that served as her walls. Her ceiling was the vaulted branches and the stars wheeling above. The grass beneath her was soft, not wet with dew as it sometimes was, and strewn with rushes and violet petals upon which she made her bed.
Rachel Alexander (Receiver of Many (Hades & Persephone, #1))
I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.
Elizabeth Bard (Lunch in Paris: A Love Story, with Recipes)
Jeremy fixed her with a dark look, full of reproach. A hot blush singed the tips of her opal-adorned ears. For a moment, Lucy felt as though she were sitting in the breakfast room wearing only her nightgown—or less. But if he meant to shame her, he would be sorely disappointed. Her lips tingled, and she slowly wet them with her tongue before flashing him a bold grin. He quickly looked away. Oh, what fun it was to vex him. He made it so easy to do. Hunting and fishing were all welland good, but truly, Jemmy-baiting had always been her favorite autumn sport. Lucy viewedhis staid countenance as an unending challenge. A smooth, thick-shelled egg that begged to be cracked. Any rearrangement of his features constituted a victory, be it a wince, a scowl, or that rarest of expressions—a smile. A smile that showed teeth counted double.Last night had shown her an entirely new way to bedevil Jeremy Trescott. Not with girlish pranks, but with womanly wiles. Oh, yes. She ‟ d cracked the egg last night, but good. Hisexpression of befuddled desire was far more amusing than a wince or a scowl, or even asmile that showed teeth. That last kiss had to count at least ten.She lifted her cup of chocolate to her lips. Closing her eyes, she pressed her tongue againstthe cool china rim, remembering the power of a proper kiss. Drinking in the hot, sweetrichness, feeling delicious warmth spread down her throat and pool in her belly. And lower.She sighed into the cup. If Jeremy ‟ s kiss could rival chocolate, Lucy shivered to imaginehow it would be to kiss—
Tessa Dare (Goddess of the Hunt (The Wanton Dairymaid Trilogy, #1))
After the sprout had broken through the (surface of) the ground," the handbook continues, the farmer should say a prayer to Ninkilim, the goddess of field mice and vermin, lest they harm the growing grain; he should also scare off the flying birds. When the barley has grown sufficiently to fill the narrow bottoms of the furrows, it is time to water it; and when it "stands high as (the straw of) a mat in the middle of a boat," it is time to water it a second time. He is to water it a third time when it is "royal" barley, that is, when it has reached its full height. Should he then notice a reddening of the wet grain, it is the dread samana-dis- ease, which endangers the crops. If the barley is doing well, however, he is to water it a fourth time and thus obtain an extra yield of 10 per cent.
Samuel Noah Kramer (The Sumerians: Their History, Culture, and Character)
Elizabeth was standing at the edge of the grassy plateau, a few yards beyond where they’d held their shooting match. Wind ruffled through the trees, blowing her magnificent hair about her shoulders like a shimmering veil. He stopped a few steps away from her, looking at her, but seeing her as she had looked long ago-a young goddess in royal blue, descending a staircase, aloof, untouchable; an angry angel defying a roomful of men in a card room; a beguiling temptress in a woodcutter’s cottage, lifting her wet hair in front of the fire-and at the end, a frightened girl thrusting flowerpots into his hands to keep him from kissing her. He drew in a deep breath and shoved his hands into his pockets to keep from reaching for her. “It’s a magnificent view,” she commented, glancing at him. Instead of replying to her remark, Ian drew a long, harsh breath and said curtly, “I’d like you to tell me again what happened that last night. Why were you in the greenhouse?” Elizabeth suppressed her frustration. “You know why I was there. You sent me a note. I thought it was from Valerie-Charise’s sister-and I went to the greenhouse.” “Elizabeth, I did not send you a note, but I did receive one.” Sighing with irritation, Elizabeth leaned her shoulders against the tree behind her. “I don’t see why we have to go through this again. You won’t believe me, and I can’t believe you.” She expected an angry outburst; instead he said, “I do believe you. I saw the letter you left on the table in the cottage. You have a lovely handwriting.” Caught completely off balance by his solemn tone and his quiet compliment, she stared at him. “Thank you,” she said uncertainly. “The note you received,” he continued. “What was the handwriting like?” “Awful,” she replied, and she added with raised brows, “You misspelled ‘greenhouse.’” His lips quirked with a mirthless smile. “I assure you I can spell it, and while my handwriting may not be as attractive as yours, it’s hardly an illegible scrawl. If you doubt me, I’ll be happy to prove it inside.
Judith McNaught (Almost Heaven (Sequels, #3))
Faith’s like a goddess to the Marines, and she’s actually good at her job, especially given she’d just finished seventh grade. Which is an important job. She does really important shit. “Right now, you’re just getting your head together. Like the pamphlet says, maybe you decide to help out. We can use people who know how to get shit done. Not just as military. I only took the Lieutenancy they offered cause I have to work with the Navy and Marines to get my job done and it helps. But there’s lots of ways a guy with your background and work ethic and general get-it-done attitude could help. Problem being, even if you wanted to, right now the only reason the Marines haven’t gotten together to kick the crap out of you is that they’re too busy. When they get less busy or, for example, this evening when they break from killing zombies, I would not want to be in your shoes.” “So what is this?” Zumwald said. “A military dictatorship? Beatings for free?” “Yeah,” Isham said, looking at him as if he was nuts. “We’re on ships. And they are all officially US Navy vessels. Even most of the dinky little yachts. The commanders, including this one, are all Navy officers, even if the ink is still wet on the commissions. And even if they weren’t, captains of vessels at sea have a lot of legal control in any circumstances. By the way, I talked Captain Graham, boss of this boat, out of pressing charges against you for assault. Because you don’t get how badly you fucked up. I get that. He’s another Faith lover, but it’s also you don’t get to just grab any cookie and tell her you want another scotch. You don’t. This isn’t Hollywood, and, sorry, you’re not some big time movie executive anymore. You’re a fucking refugee in a squadron that spends half its time on the ragged edge. Still. You got no clue how tough it is to keep these vessels supplied.
John Ringo (To Sail a Darkling Sea (Black Tide Rising, #2))
He held her down in the cushioning billows of the bed, kissed her, fondled and provocatively caressed until she arched, with her body begged; breaking from the kiss, he trailed hot, wet, openmouthed kisses down the taut line of her throat, over the creamy upper swell of her breast, and gave her the first course of what she'd asked for. He feasted on her breasts without quarter, licked, suckled, and laved as she writhed and gasped beneath him, as her hands gripped and tightened on his skull as he drew every last gasp and moan he could from her, then moved on. Over her midriff, down over her waist, pausing to pay homage to the sensitive indentation of her navel, then he shifted still lower. Trapping one of her long legs beneath him, lifting and draping the other over his shoulder, he held it there, held her steady as he pressed an ardent kiss to the curls shielding her mons. He heard her breath hitch, felt her body tremble, then tense and coil. Glancing at her face, he caught a glimpse of intense cornflower blue burning beneath her heavy lids, saw her lips slick and swollen from his kisses, parted in shocked disbelief. Deliberately he slid lower, bent and set his lips to the slick, swollen flesh between her thighs. She jerked, moaned. He licked and she screamed. She reached for him, but could only touch his head. Her fingers twined in his hair, tightened; she tensed to tug, but he licked again, then slowly, expertly probed, and she didn't move. Panting, eyes shut, she waited. Inwardly smug, he settled to worship her in that way, too, to taste her, to fill his senses with her, and hers with him. She let him have his way, let him taste her as he wished, let him try her with his tongue and drive her mindless. He asked, and she surrendered; he took, and she gave. In return, he pleasured her with unwavering devotion until she sobbed and cried out his name. Rising, he rolled her firmly onto her back, trailed kisses like fire up her belly and breasts as he loomed over her, spreading her thighs wide, settling between. He held himself over her, arms braced as he kissed her, tasted her desperation on her lips. Then with one, single powerful thrust he joined them. She closed about him like a glove, and he gasped; like the goddess he'd named her she welcomed her servant into her temple and embraced him. He moved, and she moved with him, fluidly meeting him as they gave themselves up to the now familiar dance. His thoughts fractured, ripped from him as a whirlpool of sensation rose up, drenched, then drowned him.
Stephanie Laurens (The Taste of Innocence (Cynster, #14))
becoming Lakshmi. Twenty-fingered wanting. My toe skimmed the lake. Absentminded. The sun already legendary above. I want to apologize to you, ripple, you were yielding when my lack of presence was offensive. My violating foot ignoring your unforgettable touch. I want you to know, I am sorry I did not bend reverent to you, goddess of the element. And if you let me back into you, all attention will be on the wet, slow slosh of the swim,
Micheline Maylor (Whirr & Click)
It is a patriarchal wet dream to have women in a state of constant judgement, hatred and belief that they are not good enough. Not only can you keep them in their place, encouraged to use all of their energy on despising themselves and battling with other women for attention, but you can also firmly prevent an uprising rooted in unbridled female self-love that will deeply unsettle the status quo.
Sophie Bashford (You Are a Goddess: Working with the Sacred Feminine to Awaken, Heal and Transform)
My clothes aren’t going to get dried until you wash them. Which involves putting them in the washer, and that involves picking them off the floor.” Marshell wiggled his eyebrows at me, then turned and stepped into the shower. I did drool when I got a look at his ass. “Oh my….” Did I mention I was an ass man? “Remi?” “Uh-huh?” My vocabulary had taken a hike, it appeared. “I can smell your desire. If you’re still here by the count of five, I’m getting out and coming after you. One of us is going to get fucked in this awesome shower of yours, so….” Marshell said from the shower. “One.” The sound I made was a cross between a squeak and a growl, thanks to acres and acres of wet, glistening skin. I wanted to run my tongue over every square— “Two…. “Three….” I grabbed his jeans and ran. The softly whispered word “chicken” followed me out of there. I was halfway to the laundry room before I could take a deep breath. Then it hit me what I’d done. I ran out on him. Honestly calling me a chicken was too kind. I was a coward. The only reason I ran was because I was afraid to bottom. I was a top. I always topped. I threw his clothes in the washer, tossed in one of those little pods, and turned it on. Then banged my head against it. What was I doing? Why was I standing here and not in the shower with him? Yes, I topped because I was afraid to do anything else. My one and only experience with bottoming was an unmitigated disaster. A painful, excruciating, unbearable disaster, and I hadn’t repeated the experience since. “I’m an idiot.” What happened was a long time ago. A really, really long time ago, and I let it shape me. Not only shape me, but run my life. I knew that, but it didn’t really seem to matter. The males I hooked up with were bottoms. They wanted me to top, so it was never an issue. Now things had changed. Marshell was my mate. I knew perfectly well he’d take care not to hurt me. How did I know? Because when I got a chance at that ass of his—and I certainly planned to—I’d take care not to hurt him either. All I had to do was… trust him. Trust him. But I really didn’t know him. Then again, I nearly lost him too. My goddess wouldn’t match me with someone I couldn’t love. Maybe I needed to trust her. Maybe… maybe I needed to trust myself. Something deep inside me said Marshell was a good man. I hurried out of the laundry and back to the bathroom.
M.A. Church (It Takes Two to Tango (Fur, Fangs, and Felines #3))
Sometime in that wet darkness, Thor’s Day turned into Freya’s Day. Freya was Woden’s wife, the goddess of love, and for all of her day the rain continued to fall. A wind rose in the afternoon, a high wind that tore at Wintanceaster’s thatch and drove the rain in malevolent spite, and that same night King Alfred, who had ruled in Wessex for twenty-eight years and was in the fiftieth year of his life, died.
Bernard Cornwell (Death of Kings (The Last Kingdom, #6))
How long will a people hold their patience when they earn their daily meal after sunset and have to hurry home to drop the handfuls of paddy into smouldering ash, wait for its wetness to waft away and then pound the grains and cook the dehusked rice into a formless congee that is never enough to douse their endless hunger?
Meena Kandasamy (The Gypsy Goddess)
The albino, Josiah, walks into the living room with the most beautiful woman I have ever seen. I finally get to see a female angel up close. Her features are so fine and delicate that it’s impossible not to stare. She looks like she was the mold for Venus, Goddess of Love. Her waist-length hair shimmers in the light as she moves, matching the golden plumage of her wings. Her cornflower blue eyes would be the perfect reflection of innocence and all that is wholesome, except that there’s something sliding behind them. Something that hints that she should be the poster child for the master race. Those eyes assess me from the top of my wet and stringy hair to the tips of my bare toes. I become acutely aware that I was overenthusiastic when I shoveled the rib meat into my mouth. My cheeks bulge and I can barely keep my lips closed as I chew as fast as I can. Rib meat is not something I can swallow in one lump. I hadn’t bothered to brush my hair, or even dry it before diving into the feast after my shower, so it hangs limp and dripping onto my red dress. Her Aryan eyes see it all and judge me. Raffe gives me a look and rubs his finger on his cheek. I swipe my hand across my face. It comes away smeared with meat sauce. Great. The woman turns her eyes to Raffe. I have been dismissed. She gives him a long appraising look as well, drinking in his near-nakedness, his muscular shoulders, his wet hair. Her eyes slide over to me in a quick accusation. She steps close to Raffe and runs her fingers down his glistening chest.
Susan Ee (Angelfall (Penryn & the End of Days, #1))
We make an altar on the base of what was once one of the columns within the temple. We bring grain, seeds, fruits, and flowers. A beautiful pattern emerges as each woman places her offerings on the altar. Someone brings honey and then everything is wet and glistening. We join hands again, this time around the altar we have created. We breathe deeply and draw the beauty, the nourishing power the earth has given and we have brought to the site, into ourselves. Then we reenact the story. Our telling, inspired by Charlene Spretnak, rejects the rape of Persephone as a patriarchal addition. We speak of season and cycle, mother and daughter. As one of us tells the story, two move to the center of the circle and enact the drama. Here at the place of the separation of mother and daughter, we begin to tell our own stories. Our stories of separation between mother and daughter. We speak of daughters taken away from their mothers by angry husbands. We speak of times when our mothers did not understand our lives. We speak of times when we did not understand our mothers. We speak of alcoholic mothers. We speak of daughters who made their mothers fear. We speak of loss. We speak of separation. We speak of anger. We cry. We cry together. We embrace one another. We embrace each other as mother and as daughter. The healing begins. From "Eleusinian Mysteries" featured in The Goddess Celebrates: an Anthology of Women's Rituals, Edited by Diane Stein, published in 1991. The quotes from this ritual excerpt, which are not included here due to length restrictions credit Charlene Spretnak and her book, Lost Goddesses of Early Greece, published in 1978.
Carol P. Christ, Ph.D.
One day, you will realize that you are not trapped in a prison,” he murmurs roughly. “You are in my church where I am your God, and you are my equal. I’m not a jail, little mouse, I am your sanctuary.” My mouth dries. The tip of my tongue darts out, wetting my bottom lip and swiping across his lips. Just a brush, but enough to light a spark. An answering growl arises as I ask, “Does that make me a goddess?” He pulls me impossibly closer, his lips now pressed against mine lightly. “Baby, you rule the fucking kingdom, and I will gladly bow to you.
H.D. Carlton (Haunting Adeline (Cat and Mouse, #1))
His pace is slow, the drag of his cock against the ribbed walls of her pussy excruciatingly delightful. He continues to mark her delicate skin, works up a sweat to see her so completely undone. Open-mouthed kisses mix the sounds of their languid groans, their animalistic grunts, their passionate pleas for more please fuck more. Suddenly emboldened, Eden hooks a leg over his hip and uses the momentum to roll them over. She looks like a fucking goddess riding him, hair a beautiful mess as her perfect tits bounce with her movements. She rolls her hips, coming down on his shaft in a way that nearly leaves him blind with ecstasy. "You're so fucking beautiful, Eden." "God, you feel so good." "You like fucking yourself on my cock?" "Yes, Shang. You make me so--- ngh--- fucking wet." "I'm going to make you scream my name. Let's see if we can piss off the neighbors, hm?" Eden leans forward, the new angle nearly sending him straight over the edge. She presses her forehead to his, their breaths ricocheting off each other's cheeks. "Eden---" "I want you to come," she mewls. "I want you to come. I want to make you feel good." "I'm really close." "Me, too. Oh, God, I'm---" He grabs her by the waist and rapidly fucks up into her, snapping his hips and burying himself deep inside. The delicious friction sends them both hurtling, the tight coil in the pit of his stomach exploding like a million fireworks all at once. It's the sound she makes that he truly delights in, a half-sob, half-gasp as her climax rushes through her. They ride the high together, eventually falling limp in each other's arms.
Katrina Kwan (Knives, Seasoning, & A Dash of Love)