|The first excerpt represents the past or something you must release, and is drawn from A Footnote to History by Robert Louis Stevenson:
colleagues, who shook hands. If Knappe were dead-weighted with the
inheritance of Becker, Blacklock was handicapped by reminiscences
of Leary; it is the more to the credit of this inexperienced man
that he should have maintained in the future so excellent an
attitude of firmness and moderation, and that when the crash came,
Knappe and de Coetlogon, not Knappe and Blacklock, were found to be
the protagonists of the drama. The conference was futile. The
English and American consuls admitted but one cure of the evils of
the time: that the farce of the Tamasese monarchy should cease.
It was one which the German refused to consider. And the agents
separated without reaching any result, save that diplomatic
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from Love Songs by Sara Teasdale:
-- Louis Untermeyer, in `The Chicago Evening Post'.
"`Rivers to the Sea' is the best book of pure lyrics
that has appeared in English since A. E. Housman's `A Shropshire Lad'."
-- William Marion Reedy, in `The Mirror'.
"`Rivers to the Sea' is the most beautiful book of pure lyrics
that has come to my hand in years." -- `Los Angeles Graphic'.
"Sara Teasdale sings about love better than any other contemporary
American poet." -- `The Boston Transcript'.
"`Rivers to the Sea' is the most charming volume of poetry that has appeared
on either side of the Atlantic in a score of years." -- `St. Louis Republic'.
Sara Teasdale (1884-1933):
|The third excerpt represents the future or something you must embrace, and is drawn from Adventure by Jack London:
enemies were upon him. He was rolled over and over and dragged to
his feet, disarmed and helpless.
"Why, he's an ancient Babylonian!" Joan cried, regarding him.
"He's an Assyrian, a Phoenician! Look at that straight nose, that
narrow face, those high cheek-bones--and that slanting, oval
forehead, and the beard, and the eyes, too."
"And the snaky locks," Sheldon laughed.
The bushman was in mortal fear, led by all his training to expect
nothing less than death; yet he did not cower away from them.
Instead, he returned their looks with lean self-sufficiency, and
finally centred his gaze upon Joan, the first white woman he had