| The first excerpt represents the past or something you must release, and is drawn from Glaucus/The Wonders of the Shore by Charles Kingsley: Through that mantle, at the end from which the foot curves, the
siphons protrude; two thick short tubes joined side by side, their
lips fringed with pearly cirri, or fringes; and very beautiful they
are. The larger is always open, taking in the water, which is at
once the animal's food and air, and which, flowing over the
delicate inner surface of the mantle, at once oxygenates its blood,
and fills its stomach with minute particles of decayed organized
matter. The smaller is shut. Wait a minute, and it will open
suddenly and discharge a jet of clear water, which has been robbed,
I suppose, of its oxygen and its organic matter. But, I suppose,
your eyes will be rather attracted by that same scarlet and orange
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from U. S. Project Trinity Report by Carl Maag and Steve Rohrer: exposures between 4 and 15 roentgens. Personnel who received gamma
exposures exceeding 2 roentgens represent less than six percent of the
Project TRINITY participants with recorded exposures. As described
below, these exposures generally resulted when personnel approached
ground zero several times (1).
Information is available regarding the activities of some of these
personnel. One of the drivers of the earth-sampling group's
lead-lined tank, an Army sergeant who traveled three times to ground
zero, received an exposure of 15 roentgens. A second tank driver,
also an Army sergeant, received an exposure of 3.3 roentgens. Three
members of the earth-sampling group, all of whom traveled in the tank
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of Man by Oscar Wilde: thought that one cannot express? The public are all morbid,
because the public can never find expression for anything. The
artist is never morbid. He expresses everything. He stands
outside his subject, and through its medium produces incomparable
and artistic effects. To call an artist morbid because he deals
with morbidity as his subject-matter is as silly as if one called
Shakespeare mad because he wrote 'King Lear.'
On the whole, an artist in England gains something by being
attacked. His individuality is intensified. He becomes more
completely himself. Of course, the attacks are very gross, very
impertinent, and very contemptible. But then no artist expects
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