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Today's Stichomancy for Hugh Hefner

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Frankenstein by Mary Shelley:

with ardour, but the deadly languor and coldness of the limbs told me that what I now held in my arms had ceased to be the Elizabeth whom I had loved and cherished. The murderous mark of the fiend's grasp was on her neck, and the breath had ceased to issue from her lips. While I still hung over her in the agony of despair, I happened to look up. The windows of the room had before been darkened, and I felt a kind of panic on seeing the pale yellow light of the moon illuminate the chamber. The shutters had been thrown back, and with a sensation of horror not to be described, I saw at the open window a figure the most hideous and abhorred. A grin was on the face of the monster; he seemed to jeer, as with his fiendish finger he pointed towards the corpse of my wife.


Frankenstein
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Lair of the White Worm by Bram Stoker:

but in the centre of the Grove, where, hidden amongst ancient oak stumps, was a block of granite slightly hollowed on the top, he bent low and placed his forehead on the ground. This was the only place where he showed distinct reverence. At the Castle, though he spoke of much death, he showed no sign of respect.

There was evidently something about Diana's Grove which both interested and baffled him. Before leaving, he moved all over the place unsatisfied, and in one spot, close to the edge of the Brow, where there was a deep hollow, he appeared to be afraid. After returning several times to this place, he suddenly turned and ran in a panic of fear to the higher ground, crossing as he did so the


Lair of the White Worm
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Pierre Grassou by Honore de Balzac:

ostentatiously. "He has over one hundred thousand francs' worth of pictures."

"I love Art," said the former bottle-dealer.

When Madame Vervelle's portrait was begun that of her husband was nearly finished, and the enthusiasm of the family knew no bounds. The notary had spoken in the highest praise of the painter. Pierre Grassou was, he said, one of the most honest fellows on earth; he had laid by thirty-six thousand francs; his days of poverty were over; he now saved about ten thousand francs a year and capitalized the interest; in short, he was incapable of making a woman unhappy. This last remark had enormous weight in the scales. Vervelle's friends now heard of

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The Red Seal by Natalie Sumner Lincoln:

the crime. Helen's devotion to Jimmie, her insistence upon an autopsy being held indicated her innocence. She had stated at the inquest that she had not known the burglar's identity; Kent paused as the thought occurred to him - the twins had swapped identities on the witness stand, and therefore Helen had not been called upon to answer that question! To the best of his recollection she had only been asked if she had recognized Jimmie in the court room and not at her home. But Helen it was who had summoned Officer O'Ryan on discovering the burglar and had him arrested. She surely would never have done so had she guessed his identity.

As for Barbara McIntyre - Kent's heart beat faster at thought of


The Red Seal