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Today's Stichomancy for Spike Lee

The first excerpt represents the past or something you must release, and is drawn from Aesop's Fables by Aesop:

The Frogs Desiring a King

The Frogs were living as happy as could be in a marshy swamp that just suited them; they went splashing about caring for nobody and nobody troubling with them. But some of them thought that this was not right, that they should have a king and a proper constitution, so they determined to send up a petition to Jove to give them what they wanted. "Mighty Jove," they cried, "send unto us a king that will rule over us and keep us in order." Jove laughed at their croaking, and threw down into the swamp a huge Log, which came downrplashto the swamp. The Frogs were frightened out of their lives by the commotion made in their

Aesop's Fables
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tour Through Eastern Counties of England by Daniel Defoe:

Water, and is navigable up to the town, where by that means is a great trade for carrying corn by water to London; the county of Essex being (especially on all that side) a great corn county.

When I have said this I think I have done Malden justice, and said all of it that there is to be said, unless I should run into the old story of its antiquity, and tell you it was a Roman colony in the time of Vespasian, and that it was called Camolodunum. How the Britons, under Queen Boadicea, in revenge for the Romans' ill-usage of her - for indeed they used her majesty ill - they stripped her naked and whipped her publicly through their streets for some affront she had given them. I say how for this she raised the

The third excerpt represents the future or something you must embrace, and is drawn from Z. Marcas by Honore de Balzac:

at the tip like a lion's; his brow, like a lion's, was strongly marked with a deep median furrow, dividing two powerful bosses. His high, hairy cheek-bones, all the more prominent because his cheeks were so thin, his enormous mouth and hollow jaws, were accentuated by lines of tawny shadows. This almost terrible countenance seemed illuminated by two lamps--two eyes, black indeed, but infinitely sweet, calm and deep, full of thought. If I may say so, those eyes had a humiliated expression.

Marcas was afraid of looking directly at others, not for himself, but for those on whom his fascinating gaze might rest; he had a power, and he shunned using it; he would spare those he met, and he feared