| The first excerpt represents the past or something you must release, and is drawn from The Fall of the House of Usher by Edgar Allan Poe: Having deposited our mournful burden upon tressels within
this region of horror, we partially turned aside the yet
unscrewed lid of the coffin, and looked upon the face of the
tenant. A striking similitude between the brother and sister now
first arrested my attention; and Usher, divining, perhaps, my
thoughts, murmured out some few words from which I learned that
the deceased and himself had been twins, and that sympathies of a
scarcely intelligible nature had always existed between them.
Our glances, however, rested not long upon the dead--for we could
not regard her unawed. The disease which had thus entombed the
lady in the maturity of youth, had left, as usual in all maladies
The Fall of the House of Usher |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Adventure by Jack London: white on the instant, not from maidenly embarrassment, but from the
anger which he could see flaming in her eyes.
"This taking for granted!--this when I am ready!" she cried
passionately. Then her voice swiftly became cold and steady, and
she talked in the way he imagined she must have talked business
with Morgan and Raff at Guvutu. "Listen to me, Mr. Sheldon. I
like you very well, though you are slow and a muddler; but I want
you to understand, once and for all, that I did not come to the
Solomons to get married. That is an affliction I could have
accumulated at home, without sailing ten thousand miles after it.
I have my own way to make in the world, and I came to the Solomons
|
The third excerpt represents the future or something you must embrace, and is drawn from The Voice of the City by O. Henry: batting scores he was something of a pink edition.
He loved to sit in the leather armchair by Ravenel's
window. And Ravenel didn't mind particularly.
Sammy seemed to enjoy his talk; and then the broker's
clerk was such a perfect embodiment of modernity and
the day's sordid practicality that Ravenel rather
liked to use him as a scapegoat.
"I'll tell you what's the matter with you," said
Sammy, with the shrewdness that business had taught
him. "The magazine has turned down some of your
poetry stunts. That's why you are sore at it."
The Voice of the City |
