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Today's Stichomancy for Pablo Picasso

The first excerpt represents the past or something you must release, and is drawn from The Arrow of Gold by Joseph Conrad:

superfluous person who had better get out of the way of serious people."

"Ah, par example!"

"In a sense, you know, it was flattering; but for the moment it made me feel as if I had been offered a pot of mustard to sniff."

She nodded with an amused air of understanding and I could see that she was interested. "Anything more?" she asked, with a flash of radiant eagerness in all her person and bending slightly forward towards me.

"Oh, it's hardly worth mentioning. It was a sort of threat wrapped up, I believe, in genuine anxiety as to what might happen to my


The Arrow of Gold
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Madam How and Lady Why by Charles Kingsley:

that fell would lie at their feet, and gradually make a slope of dry land, far out where the shallow sea had been; and their tops, instead of being steep as now, would become smooth and rounded; and so at last, instead of two sharp walls of cliff at the Chine's mouth, you might have --just what you have here at the mouth of this glen,--our Mount and the Warren Hill,--long slopes with sheets of drifted gravel and sand at their feet, stretching down into what was once an icy sea, and is now the Vale of Blackwater. And this I really believe Madam How has done simply by lifting Hartford Bridge Flat a few more feet out of the sea, and leaving the rest to her trusty tool, the water in the sky.

The third excerpt represents the future or something you must embrace, and is drawn from The Foolish Virgin by Thomas Dixon:

couch across the window large enough for a three- quarter mattress and covered it with velour. For five dollars a week she had thus secured a little home in which was combined a sitting-room, bed-room, bath and kitchenette.

It had its drawbacks, of course. The Professor downstairs who taught music sometimes gave a special lesson at night, and the Italian sculptor who worked on the top floor used a hammer at the most impossible hours. But on the whole she liked it better than the tiresome routine of boarding. She was not afraid at