They worked on with the quiet confidence of people who had learned to build not to be seen but to be used. Between them grew an architecture of small mercies: places to sit, places to rest, thresholds that welcomed. Minel kept mending doorways at home, her little mosaic now more intricate with patterns borrowed from the fountain. The city continued to change—its edges trimmed by politics and weather, its center sometimes hollowed by loss—but in the places they had touched, it kept a different sound: the sound of hands that fit pieces together without asking to be known.
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