Today's Stichomancy for Pamela Anderson
| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from McTeague by Frank Norris: him. She was an immense old lady with a pink face and
wonderful hair, absolutely white. The Sieppes were a
German-Swiss family.
"We go to der park, Schuetzen Park, mit alle dem childern, a
little eggs-kursion, eh not soh? We breathe der freshes
air, a celubration, a pignic bei der seashore on. Ach, dot
wull be soh gay, ah?"
"You bet it will. It'll be outa sight," cried Marcus,
enthusiastic in an instant. "This is m' friend Doctor
McTeague I wrote you about, Mrs. Sieppe."
"Ach, der doktor," cried Mrs. Sieppe.
McTeague |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Trooper Peter Halket of Mashonaland by Olive Schreiner: far from here. In that land are men of two kinds who live side by side.
Well nigh a thousand years ago one conquered the other; they have lived
together since. Today the one people seeks to drive forth the other who
conquered them. Are these men rebels, too?"
"Well," said Peter, pleased at being deferred to, "that all depends who
they are, you know!"
"They call the one nation Turks, and the other Armenians," said the
stranger.
"Oh, the Armenians aren't rebels," said Peter; "they are on our side! The
papers are all full of it," said Peter, pleased to show his knowledge.
"Those bloody Turks! What right had they to conquer the Armenians? Who
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| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Art of Writing by Robert Louis Stevenson: these blocks, dear to the nursery: this one a pillar, that a
pediment, a third a window or a vase. It is with blocks of
just such arbitrary size and figure that the literary
architect is condemned to design the palace of his art. Nor
is this all; for since these blocks, or words, are the
acknowledged currency of our daily affairs, there are here
possible none of those suppressions by which other arts
obtain relief, continuity, and vigour: no hieroglyphic
touch, no smoothed impasto, no inscrutable shadow, as in
painting; no blank wall, as in architecture; but every word,
phrase, sentence, and paragraph must move in a logical
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The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The $30,000 Bequest and Other Stories by Mark Twain: implies of dirt floor, never-made beds, tin plates and cups,
bacon and beans and black coffee, and nothing of ornament but war
pictures from the Eastern illustrated papers tacked to the log walls.
That was all hard, cheerless, materialistic desolation, but here was a
nest which had aspects to rest the tired eye and refresh that something
in one's nature which, after long fasting, recognizes, when confronted
by the belongings of art, howsoever cheap and modest they may be,
that it has unconsciously been famishing and now has found nourishment.
I could not have believed that a rag carpet could feast me so,
and so content me; or that there could be such solace to the soul
in wall-paper and framed lithographs, and bright-colored tidies
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