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Today's Stichomancy for Nellie McKay

The first excerpt represents the past or something you must release, and is drawn from The New Machiavelli by H. G. Wells:

confusion, vast stupid wars, hastily conceived laws, foolish temporary triumphs of order, lapses, set-backs, despairs, catastrophes, new beginnings, a multitudinous wilderness of time, a nigh plotless drama of wrong-headed energies. In order to assuage my parting from Isabel we had set ourselves to imagine great rewards for our separation, great personal rewards; we had promised ourselves success visible and shining in our lives. To console ourselves in our separation we had made out of the BLUE WEEKLY and our young Tory movement preposterously enormous things-as though those poor fertilising touches at the soil were indeed the germinating seeds of the millennium, as though a million lives such

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Mistress Wilding by Rafael Sabatini:

communication. And Wilding drew his own contemptuous conclusions of the Secretary of State's cautious policy. It was a fortnight later - when London was settling down again from the diversion of excitement created by the news of Argyle's defeat in Scotland - before Mr. Wilding attempted to approach Sunderland again. He awaited a favourable opportunity, and this he had when London was thrown into consternation by the alarming news of the Duke of Somerset's urgent demand for reinforcements. Unless he had them, he declared, the whole country was lost, as he could not get the militia to stand, whilst Lord Stawell's regiment were all fled and mostly gone over to the rebels at Bridgwater.

This was grave news, but it was followed in a few days by graver. The

The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde:

but to the public, blinding them to all, but harming the artist not at all. Without them we would judge a man simply by his work; but at present the newspapers are trying hard to induce the public to judge a sculptor, for instance, never by his statues but by the way he treats his wife; a painter by the amount of his income and a poet by the colour of his neck-tie. I said there should be a law, but there is really no necessity for a new law: nothing could be easier than to bring the ordinary critic under the head of the criminal classes. But let us leave such an inartistic subject and return to beautiful and comely things, remembering that the art which would represent the spirit of modern newspapers would be