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Today's Stichomancy for Henry Ford

The first excerpt represents the past or something you must release, and is drawn from Out of Time's Abyss by Edgar Rice Burroughs:

the black sky, marking another for its own. Who would be the next?

As was their custom, they took turns at guard, each man doing two hours and then arousing the next. Brady had gone on from eight to ten, followed by Sinclair from ten to twelve, then Bradley had been awakened. Brady would stand the last guard from two to four, as they had determined to start the moment that it became light enough to insure comparative safety upon the trail.

The snapping of a twig aroused Brady out of a dead sleep, and as he opened his eyes, he saw that it was broad daylight and that at twenty paces from him stood a huge lion. As the man sprang to his feet, his rifle ready in his hand, Sinclair awoke and took in

Out of Time's Abyss
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Firm of Nucingen by Honore de Balzac:

not pledge themselves not to put their own shares upon the market; they kept no deposit with the Bank of France; they guaranteed nothing. They did not even condescend to explain to shareholders the exact limits of their liabilities when they informed them that the directors in their goodness, refrained from asking any more than a thousand, or five hundred, or even two hundred and fifty francs. It was not given out that the experiment in aere publico was not meant to last for more than seven, five, or even three years, so that shareholders would not have long to wait for the catastrophe. It was in the childhood of the art. Promoters did not even publish the gigantic prospectuses with which they stimulate the imagination, and at the same time make

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

were some hearts that beat in unison with Pierre's; his talent was understood and appreciated. The poor fellow of twenty-seven had the innocence of a lad of sixteen. Another man, one of those distrustful, surly artists, would have noticed the diabolical look on Elie's face and seen the twitching of the hairs of his beard, the irony of his moustache, and the movement of his shoulders which betrayed the satisfaction of Walter Scott's Jew in swindling a Christian.

Fougeres marched along the boulevard in a state of joy which gave to his honest face an expression of pride. He was like a schoolboy protecting a woman. He met Joseph Bridau, one of his comrades, and one of those eccentric geniuses destined to fame and sorrow. Joseph