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Today's Stichomancy for Nick Nolte

The first excerpt represents the past or something you must release, and is drawn from The Circular Staircase by Mary Roberts Rinehart:

A hand in an empty room! He drew in his breath, the sharp intaking of horror that fills lungs suddenly collapsed. Beyond jerking his hand away instantly, he made no movement. I think absolute terror had him by the throat. Then he stepped back, without turning, retreating foot by foot from The Dread in the corner, and I do not think he breathed.

Then, with the relief of space between us, I screamed, ear- splittingly, madly, and they heard me outside.

"In the chimney!" I shrieked. "Behind the mantel! The mantel!"

With an oath the figure hurled itself across the room at me, and I screamed again. In his blind fury he had missed me; I heard


The Circular Staircase
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Secrets of the Princesse de Cadignan by Honore de Balzac:

the antique past, and even assumed new toils by accepting a seat in the Chamber of Deputies, where he took his seat on the Right.

Since his accession to fame he had sometimes gone into society. One of his old friends, the now-famous physician, Horace Bianchon, persuaded him to make the acquaintance of the Baron de Rastignac, under- secretary of State, and a friend of de Marsay, the prime minister. These two political officials acquiesced, rather nobly, in the strong wish of d'Arthez, Bianchon, and other friends of Michel Chrestien for the removal of the body of that republican to the church of Saint- Merri for the purpose of giving it funeral honors. Gratitude for a service which contrasted with the administrative rigor displayed at a

The third excerpt represents the future or something you must embrace, and is drawn from Tono Bungay by H. G. Wells:

more or less in relation to a palace or group of great houses. The roads and back ways of Mayfair and all about St. James's again, albeit perhaps of a later growth in point of time, were of the very spirit and architectural texture of the Bladesover passages and yards; they had the same smells, the space, the large cleanest and always going to and fro where one met unmistakable Olympians and even more unmistakable valets, butlers, footmen in mufti. There were moments when I seemed to glimpse down areas the white panelling, the very chintz of my mother's room again.

I could trace out now on a map what I would call the Great-House