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Today's Stichomancy for Mel Gibson

The first excerpt represents the past or something you must release, and is drawn from Captain Stormfield by Mark Twain:

would set up a monument to Billings, then, and his autograph would outsell Satan's. Well, they had grand times at that reception - a small-fry noble from Hoboken told me all about it - Sir Richard Duffer, Baronet."

"What, Sandy, a nobleman from Hoboken? How is that?"

"Easy enough. Duffer kept a sausage-shop and never saved a cent in his life because he used to give all his spare meat to the poor, in a quiet way. Not tramps, - no, the other sort - the sort that will starve before they will beg - honest square people out of work. Dick used to watch hungry-looking men and women and children, and track them home, and find out all about them from the neighbors,

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Damaged Goods by Upton Sinclair:


"Yes, sir, you are going to do as everybody else does."

"No, because my situation is not that of everybody else. I know what I am going to do."

Said the doctor: "Five times out of ten, in the chair where you are sitting, people talk like that, perfectly sincerely. Each one believes himself more unhappy than all the others; but after thinking it over, and listening to me, they understand that this disease is a companion with whom one can live. Just as in every household, one gets along at the cost of mutual concessions, that's all. Come, sir, I tell you again, there is nothing about

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

the chateau, he had turned into a dwelling that was almost as splendid as Gondreville; in it his wife and he were now living like rats in a cathedral. "Ah! Goulard, you have been greedy," Mademoiselle had said to him with a laugh the first time she received him at Cinq-Cygne. Though greatly attached to the Revolution and coldly received by the countess, the mayor always felt himself bound by ties of respect to the Cinq-Cygne and Simeuse families. He therefore shut his eyes to what went on at the chateau. He called shutting his eyes not seeing the portraits of Louis XVI., Marie Antoinette, and the royal children, and those of Monsieur, the Comte d'Artois, Cazales and Charlotte Corday, which filled the various panels of the salon; not resenting