| The first excerpt represents the past or something you must release, and is drawn from Michael Strogoff by Jules Verne: scar. The man had evidently had a long and painful jour-
ney; his shoes being in a state which showed that he had
been obliged to make part of it on foot.
"His Highness the Grand Duke?" he asked.
The Grand Duke went up to him. "You are a courier
from the Czar?" he asked.
"Yes, your Highness."
"You come?"
"From Moscow."
"You left Moscow?"
"On the 15th of July."
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Stories From the Old Attic by Robert Harris: thanking you then. But remember that note I wrote where I called
you a 'weird monster man'? Boy, how I loved you then. I wish
you'd responded."
"I thought maybe that meant you didn't like me. I never was good at
hints. I remember thinking a few times that some girl was hinting
that she liked me but when I would ask her out or mention romance,
she'd always look shocked and be dumbstruck with disbelief that I
could ever have thought she'd be interested in me." And here the
soul sighed, as only souls can sigh.
"Well, why didn't you just say something to me, like, 'I love you'?"
asked Lissa.
|
The third excerpt represents the future or something you must embrace, and is drawn from Mother by Owen Wister: Mrs. Davenport.
"There were many paintings," continued Richard, "in that Art Building, of
merit incomparably greater than 'Breaking Home Ties'; and yet the crowd
never looked at those, because it did not understand them. But at any
hour of the day, if you happened to pass this picture, it took you some
time to do so. You could pass any of John Sargeant's pictures, for
instance, at a speed limited only by your own powers of running; but you
could never run past 'Breaking Home Ties.' You had to work your way
through the crowd in front of that just as you have to do at a fire, or a
news office during a football game. The American people could never get
enough of that mother kissing her boy goodbye, while the wagon waits at
|
