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Today's Stichomancy for OJ Simpson

The first excerpt represents the past or something you must release, and is drawn from Walden by Henry David Thoreau:

been greatly multiplied since railroads were invented. The material was sand of every degree of fineness and of various rich colors, commonly mixed with a little clay. When the frost comes out in the spring, and even in a thawing day in the winter, the sand begins to flow down the slopes like lava, sometimes bursting out through the snow and overflowing it where no sand was to be seen before. Innumerable little streams overlap and interlace one with another, exhibiting a sort of hybrid product, which obeys half way the law of currents, and half way that of vegetation. As it flows it takes the forms of sappy leaves or vines, making heaps of pulpy sprays a foot or more in depth, and resembling, as you look down on them, the


Walden
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Black Beauty by Anna Sewell:

"what he gave me will keep me in little comforts for several days."

"Gammon!" said one.

"He's a humbug," said another; "preaching to us and then doing the same himself."

"Look here, mates," said Jerry; "the gentleman offered me half a crown extra, but I didn't take it; 'twas quite pay enough for me to see how glad he was to catch that train; and if Jack and I choose to have a quick run now and then to please ourselves, that's our business and not yours."

"Well," said Larry, "you'll never be a rich man."

"Most likely not," said Jerry; "but I don't know that I shall be the less happy for that. I have heard the commandments read

The third excerpt represents the future or something you must embrace, and is drawn from The Wife, et al by Anton Chekhov:

roars the medical student. 'Elevating! Bravo!' He had gone to the theatre, you see, the drunken blockhead, not for the sake of art, the play, but for elevation! He wanted noble sentiments."

Katya listens and laughs. She has a strange laugh; she catches her breath in rhythmically regular gasps, very much as though she were playing the accordion, and nothing in her face is laughing but her nostrils. I grow depressed and don't know what to say. Beside myself, I fire up, leap up from my seat, and cry:

"Do leave off! Why are you sitting here like two toads, poisoning the air with your breath? Give over!"

And without waiting for them to finish their gossip I prepare to