| The first excerpt represents the past or something you must release, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: individual fragments were spread in a wide, respectable half circle
about the point of interest. The saloon door opened with a crash,
and the figure of a woman appeared upon the threshold. Her grey
hair fell in knotted masses about her shoulders. Her face was
crimsoned and wet with perspiration. Her eyes had a rolling glare.
"Not a damn cent more of me money will yehs ever get, not a damn cent.
I spent me money here fer t'ree years an' now yehs tells me yeh'll
sell me no more stuff! T'hell wid yeh, Johnnie Murckre! 'Disturbance'?
Disturbance be damned! T'hell wid yeh, Johnnie--"
The door received a kick of exasperation from within and the
woman lurched heavily out on the sidewalk.
Maggie: A Girl of the Streets |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Case of The Lamp That Went Out by Grace Isabel Colbron and Augusta Groner: his customer, listening all the while to sounds in the street in
the hope that his tete-e-tete with the murderer would soon be over.
But in spite of all his natural anxiety, the old man's sharp eyes
took cognizance of various things, one of which was that the man
whom he was helping to dress in his new clothes did not have the
watch which was described in the police notice. This fact, however,
did not make the old man's heart any lighter, for the purse mended
with yellow thread was too clearly the one stolen from the murdered
man found in the quiet street in Hietzing.
"What's the matter with you, you're so slow? I can get along
better myself," growled the tramp, pushing the old man away from
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The third excerpt represents the future or something you must embrace, and is drawn from The Works of Samuel Johnson by Samuel Johnson: solicitations for a patent.
I shall sell them of different sizes, and various
degrees of strength. I have some of a bulk proper
to be hung at the bed's head, as scare-crows, and
some so small that they may be easily concealed.
Some I have ground into oral forms to be hung at
watches; and some, for the curious, I have set in
wedding rings, that ladies may never want an
attestation of their innocence. Some I can produce so
sluggish and inert, that they will not act before the
third failure; and others so vigorous and animated,
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