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Today's Stichomancy for Paul Newman

The first excerpt represents the past or something you must release, and is drawn from Catriona by Robert Louis Stevenson:

scabbit hills of sand. There was, indeed, only one thing in the nature of a prospect, where there stood out over a brae the two sails of a windmill, like an ass's ears, but with the ass quite hidden. It was strange (after the wind rose, for at first it was dead calm) to see the turning and following of each other of these great sails behind the hillock. Scarce any road came by there; but a number of footways travelled among the bents in all directions up to Mr. Bazin's door. The truth is, he was a man of many trades, not any one of them honest, and the position of his inn was the best of his livelihood. Smugglers frequented it; political agents and forfeited persons bound across the water came there to await their passages; and I daresay there was worse

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The New Machiavelli by H. G. Wells:

Merchants School. Home was a place where I slept and read, and the mooning explorations of the south-eastern postal district which occupied the restless evenings and spare days of my vacations mere interstices, giving glimpses of enigmatical lights and distant spaces between the woven threads of a school-boy's career. School life began for me every morning at Herne Hill, for there I was joined by three or four other boys and the rest of the way we went together. Most of the streets and roads we traversed in our morning's walk from Victoria are still intact, the storms of rebuilding that have submerged so much of my boyhood's London have passed and left them, and I have revived the impression of them

The third excerpt represents the future or something you must embrace, and is drawn from The Wrecker by Stevenson & Osbourne:

to shift his eyes watchfully between his handiwork and the fat model, who sat at the far end of the studio in a state of nature, with one arm gallantly arched above her head. My errand would have been difficult enough under the best of circumstances: placed between Myner, immersed in his art, and the white, fat, naked female in a ridiculous attitude, I found it quite impossible. Again and again I attempted to approach the point, again and again fell back on commendations of the picture; and it was not until the model had enjoyed an interval of repose, during which she took the conversation in her own hands and regaled us (in a soft, weak voice) with details as to