|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