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Today's Stichomancy for The Rock

The first excerpt represents the past or something you must release, and is drawn from The Beasts of Tarzan by Edgar Rice Burroughs:

jest as well of 'ad the whole bloomin' wad."

When Jane Clayton climbed to the deck of the Kincaid she found the ship apparently deserted. There was no sign of those she sought nor of any other aboard, and so she went about her search for her husband and the child she hoped against hope to find there without interruption.

Quickly she hastened to the cabin, which was half above and half below deck. As she hurried down the short companion-ladder into the main cabin, on either side of which were the smaller rooms occupied by the officers, she failed to note the quick closing of one of the doors before her. She passed the


The Beasts of Tarzan
The second excerpt represents the present or the deciding factor of the moment, and is drawn from My Antonia by Willa Cather:

She asked Peter to wait a moment, and when she came back from the kitchen she brought a bag of sandwiches and doughnuts for us.

Mr. Shimerda and Peter were on the front seat; Antonia and I sat in the straw behind and ate our lunch as we bumped along. After the sun sank, a cold wind sprang up and moaned over the prairie. If this turn in the weather had come sooner, I should not have got away. We burrowed down in the straw and curled up close together, watching the angry red die out of the west and the stars begin to shine in the clear, windy sky. Peter kept sighing and groaning. Tony whispered to me that he was afraid Pavel would never get well. We lay still and did not talk. Up there the stars grew magnificently bright.


My Antonia
The third excerpt represents the future or something you must embrace, and is drawn from Middlemarch by George Eliot:

his surprise that though he had won a lovely and noble-hearted girl he had not won delight,--which he had also regarded as an object to be found by search. It is true that he knew all the classical passages implying the contrary; but knowing classical passages, we find, is a mode of motion, which explains why they leave so little extra force for their personal application.

Poor Mr. Casaubon had imagined that his long studious bachelorhood had stored up for him a compound interest of enjoyment, and that large drafts on his affections would not fail to be honored; for we all of us, grave or light, get our thoughts entangled in metaphors, and act fatally on the strength of them. And now he was in danger


Middlemarch