Tarot Runes I Ching Stichomancy Contact
Store Numerology Coin Flip Yes or No Webmasters
Personal Celebrity Biorhythms Bibliomancy Settings

Today's Stichomancy for Peter O'Toole

The first excerpt represents the past or something you must release, and is drawn from The Coxon Fund by Henry James:

alone we had really done it all.

"They're tragic and splendid--lights on a dangerous coast. But he moves badly and dresses worse, and altogether he's anything but smart."

My companion, who appeared to reflect on this, after a moment appealed. "Do you call him a real gentleman?"

I started slightly at the question, for I had a sense of recognising it: George Gravener, years before, that first flushed night, had put me face to face with it. It had embarrassed me then, but it didn't embarrass me now, for I had lived with it and overcome it and disposed of it. "A real gentleman? Emphatically

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Howard Pyle's Book of Pirates by Howard Pyle:

as 1686, when a great storm swept the Atlantic coast from end to end. During the heaviest part of the hurricane a bark went ashore on the Hen-and-Chicken Shoals, just below Cape Henlopen and at the mouth of the Delaware Bay, and Tom Chist was the only soul of all those on board the ill-fated vessel who escaped alive.

This story must first be told, because it was on account of the strange and miraculous escape that happened to him at that time that he gained the name that was given to him.

Even as late as that time of the American colonies, the little scattered settlement at Henlopen, made up of English, with a few Dutch and Swedish people, was still only a spot upon the face of

Howard Pyle's Book of Pirates
The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac:

the clearer tones; and then see how, by an opposite method,--smoothing off the sharp contrasts and the texture of the color,--I have been able, by caressing the outline of my figure and veiling it with cloudy half-tints, to do away with the very idea of drawing and all other artificial means, and give to the form the aspect and roundness of Nature itself. Come nearer, and you will see the work more distinctly; if too far off it disappears. See! there, at that point, it is, I think, most remarkable." And with the end of his brush he pointed to a spot of clear light color.

Porbus struck the old man on the shoulder, turning to Poussin as he did so, and said, "Do you know that he is one of our greatest