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Today's Stichomancy for Elizabeth Taylor

The first excerpt represents the past or something you must release, and is drawn from The Heritage of the Desert by Zane Grey:

here and there caught a loud-spoken word, and marked their leisurely care-free manner. Snap Naab took up a pan of food and a cup of coffee, carried them into the cabin, and came out, shutting the door.

After breakfast most of the rustlers set themselves to their various tasks. Hare watched them with the eyes of a lynx watching deer. Several men were arranging articles for packing, and their actions were slow to the point of laziness; others trooped down toward the corral. Holderness rolled a cigarette and stooped over the campfire to reach a burning stick. Snap Naab stalked to and fro before the door of the cabin. He alone of the rustler's band showed restlessness, and more than once he glanced up the trail that led over the divide toward his father's oasis.


The Heritage of the Desert
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The House of Dust by Conrad Aiken:

Or huddle in dark again. . . .A clock ticks clearly, A gas-jet steadily whirs, light streams across me; Two church bells, with alternate beat, strike nine; And through these things my pencil pushes softly To weave grey webs of lines on this clear page. Snow falls and melts; the eaves make liquid music; Black wheel-tracks line the snow-touched street; I turn And look one instant at the half-dark gardens, Where skeleton elm-trees reach with frozen gesture Above unsteady lamps,--with black boughs flung Against a luminous snow-filled grey-gold sky.

The third excerpt represents the future or something you must embrace, and is drawn from Facino Cane by Honore de Balzac:

dead eyes were lighted up, as it were, by a thought within that broke forth like a burning flame, lit by one sole insatiable desire, written large in vigorous characters upon an arching brow scored across with as many lines as an old stone wall.

The old man was playing at random, without the slightest regard for time or tune. His fingers traveled mechanically over the worn keys of his instrument; he did not trouble himself over a false note now and again (a /canard/, in the language of the orchestra), neither did the dancers, nor, for that matter, did my old Italian's acolytes; for I had made up my mind that he must be Italian, and an Italian he was. There was something great, something too of the despot about this old