Today's Stichomancy for Carmen Electra

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The House of Dust by Conrad Aiken:

Backward she leans her head, And dreamily smiles at the peach-tree leaves, wherethrough She sees an infinite May sky spread A vault profoundly blue. The voice from the house fades far away, The glistening leaves more vaguely ripple and sway . . The tap is closed, the water ceases to hiss . . . Silence . . . blue sky . . . and then, 'I brought you this . . . ' She turns again, and smiles . . . He does not know She smiles from long ago . . .

She turns to him and smiles . . . Sunlight above him

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Mansion by Henry van Dyke:

It looked as if it had been built of discarded things, scraps and

fragments of other buildings, put together with care and pains, by some one who had tried to make the most of cast-off material.

There was something pitiful and shamefaced about the hut. It shrank and drooped and faded in its barren field, and seemed to cling only by sufferance to the edge of the splendid city.

"This," said the Keeper of the Gate, standing still and speaking with a low, distinct voice--"this is your mansion, John Weightman."

An almost intolerable shock of grieved wonder and indignation

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton:

his face) drew her toward him with an invincible force.

"Are you really he?" she murmured.

"I am he," he answered.

She laid her hand in his and drew him toward the parapet which overhung the valley.

"Shall we go down together," she asked him, "into that marvellous country; shall we see it together, as if with the self-same eyes, and tell each other in the same words all that we think and feel?"

"So," he replied, "have I hoped and dreamed."

"What?" she asked, with rising joy. "Then you, too, have looked for me?"

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw:

sycophant; and, second, that the normality of Shakespear's sexual constitution is only too well attested by the excessive susceptibility to the normal impulse shewn in the whole mass of his writings. This latter is the really conclusive reply. In the case of Michel Angelo, for instance, one must admit that if his works are set beside those of Titian or Paul Veronese, it is impossible not to be struck by the absence in the Florentine of that susceptibility to feminine charm which pervades the pictures of the Venetians. But, as Mr Harris points out (though he does not use this particular illustration) Paul Veronese is an anchorite compared to Shakespear. The language of the sonnets addressed to Pembroke, extravagant as it now seems, is the