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Today's Stichomancy for Justin Timberlake

The first excerpt represents the past or something you must release, and is drawn from This Side of Paradise by F. Scott Fitzgerald:

hands. "I don't want my mother to know. I don't want my mother to know." "Come on now!" "Shut up!" cried Amory at Olson. An instant's pause. "Stella Robbins," she faltered finally. "General Delivery, Rugway, New Hampshire." Olson snapped his note-book shut and looked at them very ponderously. "By rights the hotel could turn the evidence over to the police and you'd go to penitentiary, you would, for bringin' a girl from


This Side of Paradise
The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Prince of Bohemia by Honore de Balzac:

of imagination that deserts us when our first youth is past. The prime of the blossom is over, but there remains the dry compact seed with the germs of life in it, ready against the coming winter. Do you not see that these things are symptoms of something unsatisfied, of an unrest impossible to analyze, still less to describe, yet not incomprehensible; a something ready to break out if occasion calls into flying upleaping flame? It is the /accidia/ of the cloister; a trace of sourness, of ferment engendered by the enforced stagnation of youthful energies, a vague, obscure melancholy."

"That will do," said the Marquise; "you are giving me a mental shower bath."

The third excerpt represents the future or something you must embrace, and is drawn from Edition of The Ambassadors by Henry James:

That was what he had settled to as an indirect but none the less closely involved consequence of his impression of Jeanne. That was where he meant to stay. "It's innocent," he repeated--"I see the whole thing."

Mystified by his abrupt declaration, she had glanced over at Gloriani as at the unnamed subject of his allusion, but the next moment she had understood; though indeed not before Strether had noticed her momentary mistake and wondered what might possibly be behind that too. He already knew that the sculptor admired Madame de Vionnet; but did this admiration also represent an attachment of which the innocence was discussable? He was moving verily in a