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Today's Stichomancy for Tommy Hilfiger

The first excerpt represents the past or something you must release, and is drawn from To the Lighthouse by Virginia Woolf:

her smoking shag ("fivepence an ounce, Miss Briscoe") and making it his business to tell her women can't write, women can't paint, not so much that he believed it, as that for some odd reason he wished it? There he was lean and red and raucous, preaching love from a platform (there were ants crawling about among the plantains which she disturbed with her brush--red, energetic, shiny ants, rather like Charles Tansley). She had looked at him ironically from her seat in the half-empty hall, pumping love into that chilly space, and suddenly, there was the old cask or whatever it was bobbing up and down among the waves and Mrs Ramsay looking for her spectacle case among the pebbles. "Oh, dear! What a nuisance! Lost again. Don't bother, Mr Tansley. I lose


To the Lighthouse
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Seraphita by Honore de Balzac:

payment. The following day Swedenborg, having done as the lady requested, pointed out the place where the receipt would be found. He also begged the deceased to appear to his wife, and the latter saw her husband in a dream, wrapped in a dressing-gown which he wore just before his death; and he showed her the paper in the place indicated by Swedenborg, where it had been securely put away. At another time, embarking from London in a vessel commanded by Captain Dixon, he overheard a lady asking if there were plenty of provisions on board. 'We do not want a great quantity,' he said; 'in eight days and two hours we shall reach Stockholm,'--which actually happened. This peculiar state of vision as to the things of the earth--into which


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

"One evening I went in to see this man who had turned himself to gold; the usurer, whom his victims (his clients, as he styled them) were wont to call Daddy Gobseck, perhaps ironically, perhaps by way of antiphrasis. He was sitting in his armchair, motionless as a statue, staring fixedly at the mantel-shelf, where he seemed to read the figures of his statements. A lamp, with a pedestal that had once been green, was burning in the room; but so far from taking color from its smoky light, his face seemed to stand out positively paler against the background. He pointed to a chair set for me, but not a word did he say.

" 'What thoughts can this being have in his mind?' said I to myself.


Gobseck