| The first excerpt represents the past or something you must release, and is drawn from Michael Strogoff by Jules Verne: there, now that the Imperial letter could no longer be given
by him to the Grand Duke, and when he did not even know
the contents of it? Alcide Jolivet and Blount could not
understand it any more than Nadia had done.
No one spoke of the past, except when Jolivet thought
it his duty to say to Michael, "We owe you some apology
for not shaking hands with you when we separated at
Ichim."
"No, you had reason to think me a coward!"
"At any rate," added the Frenchman, "you knouted the
face of that villain finely, and he will carry the mark of it
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton: in the mean while I shall have read it," he said.
The door closed on him, and she hid her eyes from the dreadful
emptiness of the room.
The End
THE HOUSE OF THE DEAD HAND
as first published in
Atlantic Monthly, August 1904
I
"Above all," the letter ended, "don't leave Siena without seeing
Doctor Lombard's Leonardo. Lombard is a queer old Englishman, a
mystic or a madman (if the two are not synonymous), and a devout
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The third excerpt represents the future or something you must embrace, and is drawn from Edition of The Ambassadors by Henry James: were all she had wished to prove. Then, "A man in trouble MUST be
possessed somehow of a woman," she said; "if she doesn't come in
one way she comes in another."
"Why do you call me a man in trouble?"
"Ah because that's the way you strike me." She spoke ever so gently
and as if with all fear of wounding him while she sat partaking of
his bounty. "AREn't you in trouble?"
He felt himself colour at the question, and then hated that--hated
to pass for anything so idiotic as woundable. Woundable by Chad's
lady, in respect to whom he had come out with such a fund of
indifference--was he already at that point? Perversely, none the
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