Today's Stichomancy for Federico Fellini

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from U. S. Project Trinity Report by Carl Maag and Steve Rohrer:

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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Dreams by Olive Schreiner:

saddle, and I fell asleep there. And, in my sleep, I had a curious dream.

I thought I stood on the border of a great desert, and the sand blew about everywhere. And I thought I saw two great figures like beasts of burden of the desert, and one lay upon the sand with its neck stretched out, and one stood by it. And I looked curiously at the one that lay upon the ground, for it had a great burden on its back, and the sand was thick about it, so that it seemed to have piled over it for centuries.

And I looked very curiously at it. And there stood one beside me watching. And I said to him, "What is this huge creature who lies here on the sand?"

And he said, "This is woman; she that bears men in her body."

And I said, "Why does she lie here motionless with the sand piled round

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Scarecrow of Oz by L. Frank Baum:

painted had become so wrinkled that the old jolly expression of their stuffed friend's features was entirely gone. But he could still speak, and when Trot bent down her ear she heard him say:

"Get me out of here as soon as you can."

That seemed a wise thing to do, so Cap'n Bill lifted his head and shoulders, and Trot and Button-Bright each took a leg; among them they partly carried and partly dragged the damp Scarecrow out of the Ruby Cavern, along the tunnel, and up the flight of rock steps. It was somewhat difficult to get him past the edge of the

The Scarecrow of Oz

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 Pierre Grassou by Honore de Balzac:

During these studied and these different transformations Fougeres' habits and ways of life were tranquil and moral to a degree that furnished matter of jesting to the various ateliers where he sojourned; but everywhere he disarmed his comrades by his modesty and by the patience and gentleness of a lamblike nature. The masters, however, had no sympathy for the good lad; masters prefer bright fellows, eccentric spirits, droll or fiery, or else gloomy and deeply reflective, which argue future talent. Everything about Pierre Grassou smacked of mediocrity. His nickname "Fougeres" (that of the painter in the play of "The Eglantine") was the source of much teasing; but, by force of circumstances, he accepted the name of the town in which he