Today's Stichomancy for Jack Kevorkian

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Nana, Miller's Daughter, Captain Burle, Death of Olivier Becaille by Emile Zola:

goal there. The yellow ceiling looked as if it had been baked, and a lamp burned amid fumes of russet-colored fog. For some seconds he leaned upon the iron balustrade which felt warm and damp and well- nigh human to the touch. And he shut his eyes and drew a long breath and drank in the sexual atmosphere of the place. Hitherto he had been utterly ignorant of it, but now it beat full in his face.

"Do come here," shouted Fauchery, who had vanished some moments ago. "You're being asked for."

At the end of the corridor was the dressing room belonging to Clarisse and Simonne. It was a long, ill-built room under the roof with a garret ceiling and sloping walls. The light penetrated to it

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from A Princess of Parms by Edgar Rice Burroughs:

ground, while the freight and passenger stations of the merchant squadrons rose nearly as high.

It was a long climb up the face of the building, and one fraught with much danger, but there was no other way, and so I essayed the task. The fact that Barsoomian architecture is extremely ornate made the feat much simpler than I had anticipated, since I found ornamental ledges and projections which fairly formed a perfect ladder for me all the way to the eaves of the building. Here I met my first real obstacle. The eaves projected nearly twenty feet from the wall to which I clung, and though I encircled the great building I could find

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Another Study of Woman by Honore de Balzac:

scheme of conduct: never to look at each other; to avoid meeting; to speak ill of each other. Self-admiration, swagger, or playing the disdained swain,--all these old manoeuvres are not to compare on either part with a false passion professed for an indifferent person and an air of indifference towards the true idol. If two lovers will only play that game, the world will always be deceived; but then they must be very secure of each other.

"Her stalking-horse was a man in high favor, a courtier, cold and sanctimonious, whom she never received at her own house. This little comedy was performed for the benefit of simpletons and drawing-room circles, who laughed at it. Marriage was never spoken of between us;

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 Soul of Man by Oscar Wilde:

temperament? It is the temperament of receptivity. That is all.

If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in such a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator: the spectator is not to dominate the work of art. The spectator is to be receptive. He is to be the violin on which the master is to play. And the more completely he can suppress his own silly views, his own foolish prejudices, his own absurd ideas of what Art should be, or should not be, the more likely he is to understand and appreciate the work of art in question. This is, of course, quite obvious in the case