| The first excerpt represents the past or something you must release, and is drawn from Through the Looking-Glass by Lewis Carroll: side of it: it looked much darker than the last wood, and Alice
felt a LITTLE timid about going into it. However, on second
thoughts, she made up her mind to go on: `for I certainly won't
go BACK,' she thought to herself, and this was the only way to
the Eighth Square.
`This must be the wood, she said thoughtfully to herself,
`where things have no names. I wonder what'll become of MY name
when I go in? I shouldn't like to lose it at all--because
they'd have to give me another, and it would be almost certain to
be an ugly one. But then the fun would be trying to find the
creature that had got my old name! That's just like the
Through the Looking-Glass |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from At the Mountains of Madness by H. P. Lovecraft: tended to run in continuous horizontal bands three feet wide and
arranged from floor to ceiling in alternation with bands of equal
width given over to geometrical arabesques. There were exceptions
to this rule of arrangement, but its preponderance was overwhelming.
Often, however, a series of smooth car-touches containing oddly
patterned groups of dots would be sunk along one of the arabesque
bands.
The technique, we soon saw, was mature, accomplished,
and aesthetically evolved to the highest degree of civilized mastery,
though utterly alien in every detail to any known art tradition
of the human race. In delicacy of execution no sculpture I have
At the Mountains of Madness |
The third excerpt represents the future or something you must embrace, and is drawn from Royalty Restored/London Under Charles II by J. Fitzgerald Molloy: streets by day and night; the trained bands were ready to fall in
at a moment's notice; preparations were made for barricading the
principal thoroughfares; the city gates were kept closed so that
admission could be only had through the wickets; and the Houses
of Parliament demanded a guard should keep watch on the vaults
over which they sat, lest imitators of Guy Fawkes might blow them
to pieces. Moreover, it was not alone the safety of the
multitude, but the protection of the individual which was sought
to be secured. In the dark confusion which general terror
produced, each man felt he might be singled out as the next
victim of this diabolical plot, and therefore devised means to
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