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Today's Stichomancy for Ashlee Simpson

The first excerpt represents the past or something you must release, and is drawn from A Second Home by Honore de Balzac:

religious practices, to allow her entire liberty of conscience, to permit her to go to communion, to church, to confession as often as she pleased, and never to control her choice of priestly advisers. At this critical moment Angelique looked at her future husband with such pure and innocent eyes, that Granville did not hesitate to give his word. A smile puckered the lips of the Abbe Fontanon, a pale man, who directed the consciences of this household. Mademoiselle Bontems, by a slight nod, seemed to promise that she would never take an unfair advantage of this freedom. As to the old Count, he gently whistled the tune of an old song, /Va-t-en-voir s'ils viennent/ ("Go and see if they are coming on!")

The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Heap O' Livin' by Edgar A. Guest:

Now one that his mother declares is a fright: A fun-loving, sun-loving rascal, and fine, Is he that comes placing his black fist in mine.

A crop of brown hair that is tousled and tossed; A waist from which two of the buttons are lost; A smile that shines out through the dirt and the grime, And eyes that are flashing delight all the time: All these are the joys that I'm eager to meet And look for the moment I get to my street.


A Heap O' Livin'
The third excerpt represents the future or something you must embrace, and is drawn from Dead Souls by Nikolai Vasilievich Gogol:

larger than a plate), a turkey of about the size of a calf, eggs, rice, pastry, and every conceivable thing which could possibly be put into a stomach. There the meal ended. When he rose from table Chichikov felt as though a pood's weight were inside him. In the drawing-room the company found dessert awaiting them in the shape of pears, plums, and apples; but since neither host nor guest could tackle these particular dainties the hostess removed them to another room. Taking advantage of her absence, Chichikov turned to Sobakevitch (who, prone in an armchair, seemed, after his ponderous meal, to be capable of doing little beyond belching and grunting--each such grunt or belch necessitating a subsequent signing of the cross over the

Dead Souls