| The first excerpt represents the past or something you must release, and is drawn from One Basket by Edna Ferber: drank from it, thirstily, gratefully.
South Water Street feeds Chicago. Into that close-packed
thoroughfare come daily the fruits and vegetables that will
supply a million tables. Ben had heard of it, vaguely, but had
never attempted to find it. Now he stumbled upon it and,
standing there, felt at home in Chicago for the first time in
more than a year. He saw ruddy men walking about in overalls and
carrying whips in their hands--wagon whips, actually. He hadn't
seen men like that since he had left the farm. The sight of them
sent a great pang of homesickness through him. His hand reached
out and he ran an accustomed finger over the potatoes in a barrel
One Basket |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Brother of Daphne by Dornford Yates: keep it company. Red lips. Presently she looked at me through
the smoke.
"Are you going to Whinnerley?" she said.
"Yes, please."
"To the Hall?"
"Even as you are."
"How did you know?"
"The sensitive bag had a label."
"Oh, I believe you're one of Berry and Co."
"Look here," I said, "you mustn't judge me by my company. If my
relatives and connections by marriage like to make themselves
The Brother of Daphne |
The third excerpt represents the future or something you must embrace, and is drawn from The Soul of Man by Oscar Wilde: their audiences - and every theatre in London has its own audience
- the temperament to which Art appeals. And what is that
temperament? It is the temperament of receptivity. That is all.
If a man approaches a work of art with any desire to exercise
authority over it and the artist, he approaches it in such a spirit
that he cannot receive any artistic impression from it at all. The
work of art is to dominate the spectator: the spectator is not to
dominate the work of art. The spectator is to be receptive. He is
to be the violin on which the master is to play. And the more
completely he can suppress his own silly views, his own foolish
prejudices, his own absurd ideas of what Art should be, or should
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