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Today's Stichomancy for James Joyce

The first excerpt represents the past or something you must release, and is drawn from Baby Mine by Margaret Mayo:

becoming more and more emphatic in her declaration that Jimmy knew where her baby was.

"Sure, Jimmy," said Alfred, out of all patience with Jimmy's stupidity and tiring of the strain of the woman's presence. "You know where her baby is."

"Ah!" cried the mother, and she towered over Jimmy with a wild light in her eyes. "Take me to him," she demanded; "take me to him."

Jimmy rolled his large eyes first toward Aggie, then toward Zoie and at last toward Alfred. There was no mercy to be found anywhere.

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Macbeth by William Shakespeare:

Vpon her skinnie Lips: you should be Women, And yet your Beards forbid me to interprete That you are so

Mac. Speake if you can: what are you? 1. All haile Macbeth, haile to thee Thane of Glamis

2. All haile Macbeth, haile to thee Thane of Cawdor

3. All haile Macbeth, that shalt be King hereafter

Banq. Good Sir, why doe you start, and seeme to feare Things that doe sound so faire? i'th' name of truth Are ye fantasticall, or that indeed Which outwardly ye shew? My Noble Partner


Macbeth
The third excerpt represents the future or something you must embrace, and is drawn from Christ in Flanders by Honore de Balzac:

sea and sky, either with some presentiment of danger, or because they felt the influence of the religious melancholy that takes possession of nearly all of us at the close of the day, the hour of prayer, when all nature is hushed save for the voices of the bells. The sea gleamed pale and wan, but its hues changed, and the surface took all the colors of steel. The sky was almost overspread with livid gray, but down in the west there were long narrow bars like streaks of blood; while lines of bright light in the eastern sky, sharp and clean as if drawn by the tip of a brush, were separated by folds of cloud, like the wrinkles on an old man's brow. The whole scene made a background of ashen grays and half-tints, in strong contrast to the bale-fires of