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Today's Stichomancy for Ashton Kutcher

The first excerpt represents the past or something you must release, and is drawn from The Coxon Fund by Henry James:

indecency--one had one's choice only of such formulas as that the more they fitted the less they gave one rest. These are dead aches now, and I am under no obligation, thank heaven, to be definite about the business. There are things which if I had had to tell them--well, would have stopped me off here altogether.

I went abroad for the general election, and if I don't know how much, on the Continent, I forgot, I at least know how much I missed, him. At a distance, in a foreign land, ignoring, abjuring, unlearning him, I discovered what he had done for me. I owed him, oh unmistakeably, certain noble conceptions; I had lighted my little taper at his smoky lamp, and lo it continued to twinkle.

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Street of Seven Stars by Mary Roberts Rinehart:

don't want to be pitied. You stay here and work. You'll do big things. I had a talk with the master while I was searching for you, and he says you can do anything. But he looked at me--and a sight I was with worry and fright--and he warned me off, Harmony. He says you must not marry."

"Old pig!" said Harmony. "I will marry if I please."

Nevertheless Peter's refusal and the master's speech had told somewhat. She was colder, less vibrant. Peter came to her, stood close, looking down at her.

"I've said a lot I didn't mean to," he said. "There's only one thing I haven't said, I oughtn't to say it, dear. I'm not going

The third excerpt represents the future or something you must embrace, and is drawn from A Daughter of Eve by Honore de Balzac:

her cheeks, the flesh of which was still delicate; but although she could no longer blush or turn pale, she had a thin nose with rosy, passionate nostrils, made to express irony,--the mocking irony of Moliere's women-servants. Her sensual mouth, expressive of sarcasm and love of dissipation, was adorned with a deep furrow that united the upper lip with the nose. Her chin, white and rather fat, betrayed the violence of passion. Her hands and arms were worthy of a sovereign.

But she had one ineradicable sign of low birth,--her foot was short and fat. No inherited quality ever caused greater distress. Florine had tried everything, short of amputation, to get rid of it. The feet were obstinate, like the Breton race from which she came; they