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Today's Stichomancy for Pamela Colman Smith

The first excerpt represents the past or something you must release, and is drawn from Tom Grogan by F. Hopkinson Smith:

"I thought ye would. Now, I'll go on. Since that night in me kitchen ye 've tried to ruin me in ivery other way ye could. Ye've set these dead beats Crimmins and Quigg on to me to coax away me men; ye've stirred up the Union; ye burned me stable"--

"Ye lie! It's a tramp did it," snarled McGaw.

"Ye better keep still till I get through, Dan McGaw. I've got the can that helt the ker'sene, an' I know where yer boy Billy bought it, an' who set him up to it," she added, looking straight at Crimmins. "He might'a' been a dacent boy but for him." Crimmins turned pale and bit his lip.

The situation became intense. Even the judge, who had come out of

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Just Folks by Edgar A. Guest:

The little old man is as queer as can be; He'd spend all his time with a child on his knee; And the stories he tells I could never repeat, But they're always of good boys and little girls sweet; And the children come home at the end of the day To tell what the little old man had to say.

Once the little old man didn't trudge to the store, And the tap of his cane wasn't heard any more; The children looked eagerly for him each day And wondered why he didn't come out to play Till some of them saw Doctor Brown ring his bell,


Just Folks
The third excerpt represents the future or something you must embrace, and is drawn from Bunner Sisters by Edith Wharton:

Evelina sank back, her face a sallow wedge in the white cleft of the pillow. Ann Eliza leaned over her, and for a long time they held each other without speaking.

They were still clasped in this dumb embrace when there was a step in the shop and Ann Eliza, starting up, saw Miss Mellins in the doorway.

"My sakes, Miss Bunner! What in the land are you doing? Miss Evelina--Mrs. Ramy--it ain't you?"

Miss Mellins's eyes, bursting from their sockets, sprang from Evelina's pallid face to the disordered supper table and the heap of worn clothes on the floor; then they turned back to Ann Eliza,