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Today's Stichomancy for Naomi Campbell

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Last War: A World Set Free by H. G. Wells:

world was wide and they had had luck in not coming close to any soaring sentinel. Their machine was painted a pale gray, that lay almost invisibly over the cloud levels below. But now the east was flushing with the near ascent of the sun, Berlin was but a score of miles ahead, and the luck of the Frenchmen held. By imperceptible degrees the clouds below dissolved....

Away to the north-eastward, in a cloudless pool of gathering light and with all its nocturnal illuminations still blazing, was Berlin. The left finger of the steersman verified roads and open spaces below upon the mica-covered square of map that was fastened by his wheel. There in a series of lake-like expansions


The Last War: A World Set Free
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Unconscious Comedians by Honore de Balzac:

machine the movement of which is about to run down. The body, a species of broom-handle decently covered with clothes, enjoyed the advantages of death and did not stir. Above the forehead rose a coif of black velvet. Madame Fontaine, for it was really a woman, had a black hen on her right hand and a huge toad, named Astaroth, on her left. Gazonal did not at first perceive them.

The toad, of surprising dimensions, was less alarming in himself than through the effect of two topaz eyes, large as a ten-sous piece, which cast forth vivid gleams. It was impossible to endure that look. The toad is a creature as yet unexplained. Perhaps the whole animal creation, including man, is comprised in it; for, as Lassailly said,

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Legend of Sleepy Hollow by Washington Irving:

prolonged the blue shallow of the distant mountain. A few amber clouds floated in the sky, without a breath of air to move them. The horizon was of a fine golden tint, changing gradually into a pure apple green, and from that into the deep blue of the mid- heaven. A slanting ray lingered on the woody crests of the precipices that overhung some parts of the river, giving greater depth to the dark gray and purple of their rocky sides. A sloop was loitering in the distance, dropping slowly down with the tide, her sail hanging uselessly against the mast; and as the reflection of the sky gleamed along the still water, it seemed as if the vessel was suspended in the air.


The Legend of Sleepy Hollow
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 Meno by Plato:

only, in relation to the truth.' These unmeaning propositions are hardly suspected to be a caricature of a great theory of knowledge, which Plato in various ways and under many figures of speech is seeking to unfold. Poetry has been converted into dogma; and it is not remarked that the Platonic ideas are to be found only in about a third of Plato's writings and are not confined to him. The forms which they assume are numerous, and if taken literally, inconsistent with one another. At one time we are in the clouds of mythology, at another among the abstractions of mathematics or metaphysics; we pass imperceptibly from one to the other. Reason and fancy are mingled in the same passage. The ideas are sometimes described as many, coextensive with the universals of sense and also with the first