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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 Gobseck by Honore de Balzac:

bed; 'how can you do without a fire?'

" 'I am not cold at all,' he said. 'No fire here! no fire! I am going, I know not where, lad,' he went on, glancing at me with blank, lightless eyes, 'but I am going away from this.--I have carpology,' said he (the use of the technical term showing how clear and accurate his mental processes were even now). 'I thought the room was full of live gold, and I got up to catch some of it.--To whom will all mine go, I wonder? Not to the crown; I have left a will, look for it, Grotius. La belle Hollandaise had a daughter; I once saw the girl somewhere or other, in the Rue Vivienne, one evening. They call her "La Torpille," I believe; she is as pretty as pretty can be; look her

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Man in Lower Ten by Mary Roberts Rinehart:

in mine. But when I raised it to my lips, and kissed the soft, open palm, she drew it away without displeasure.

"Not that, please," she protested, and fell to whistling softly again, her chin in her hands. "I can't sing," she said, to break an awkward pause, "and so, when I'm fidgety, or have something on my mind, I whistle. I hope you don't dislike it?"

"I love it," I asserted warmly. I did; when she pursed her lips like that I was mad to kiss them.

"I saw you - at the station," she said' suddenly. "You - you were in a hurry to go." I did not say anything, and after a pause she drew a long breath. "Men are queer, aren't they?" she said, and

The Man in Lower Ten
The third excerpt represents the future or something you must embrace, and is drawn from The Door in the Wall, et. al. by H. G. Wells:

doing, other men might have been spurred on by my belief in the practicability of the idea; and I do not pretend to be such a genius as to have been sure of coming in first, in the case of a race for the discovery. And you see it was important that if I really meant to make a pile, people should not know it was an artificial process and capable of turning out diamonds by the ton. So I had to work all alone. At first I had a little laboratory, but as my resources began to run out I had to conduct my experiments in a wretched unfurnished room in Kentish Town, where I slept at last on a straw mattress on the floor among all my apparatus. The money simply flowed away. I grudged myself