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Today's Stichomancy for Barack Obama

The first excerpt represents the past or something you must release, and is drawn from Myths and Myth-Makers by John Fiske:

back her plumage and flew away rejoicing.[141]

[141] Baring-Gould, Curious Myths, II. 299-302.

Swan-maidens are also, according to Mr. Baring-Gould, found among the Minussinian Tartars. But there they appear as foul demons, like the Greek Harpies, who delight in drinking the blood of men slain in battle. There are forty of them, who darken the whole firmament in their flight; but sometimes they all coalesce into one great black storm-fiend, who rages for blood, like a werewolf.

In South Africa we find the werewolf himself.[142] A certain Hottentot was once travelling with a Bushwoman and her child,


Myths and Myth-Makers
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Devil's Dictionary by Ambrose Bierce:

Whatever he gained, the loss was ours.

LOVE, n. A temporary insanity curable by marriage or by removal of the patient from the influences under which he incurred the disorder. This disease, like _caries_ and many other ailments, is prevalent only among civilized races living under artificial conditions; barbarous nations breathing pure air and eating simple food enjoy immunity from its ravages. It is sometimes fatal, but more frequently to the physician than to the patient.

LOW-BRED, adj. "Raised" instead of brought up.

LUMINARY, n. One who throws light upon a subject; as an editor by not writing about it.


The Devil's Dictionary
The third excerpt represents the future or something you must embrace, and is drawn from Edingburgh Picturesque Notes by Robert Louis Stevenson:

memorialised lower down upon a spur; Lord Nelson, as befits a sailor, gives his name to the top-gallant of the Calton Hill. This latter erection has been differently and yet, in both cases, aptly compared to a telescope and a butter-churn; comparisons apart, it ranks among the vilest of men's handiworks. But the chief feature is an unfinished range of columns, 'the Modern Ruin' as it has been called, an imposing object from far and near, and giving Edinburgh, even from the sea, that false air; of a Modern Athens which has earned for her so many slighting speeches. It was meant to be a National Monument; and