| The first excerpt represents the past or something you must release, and is drawn from The Dream-Quest of Unknown Kadath by H. P. Lovecraft: rolling meadows behind it; and antediluvian Kingsport hoary with
stacked chimneys and deserted quays and overhanging gables, and
the marvel of high cliffs and the milky-misted ocean with tolling
buoys beyond.
"Cool vales in Concord, cobbled lands in Portsmouth,
twilight bends of rustic New Hampshire roads where giant elms
half hide white farmhouse walls and creaking well-sweeps. Gloucester's
salt wharves and Truro's windy willows. Vistas of distant steepled
towns and hills beyond hills along the North Shore, hushed stony
slopes and low ivied cottages in the lee of huge boulders in Rhode
Island's back country. Scent of the sea and fragrance of the fields;
The Dream-Quest of Unknown Kadath |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from End of the Tether by Joseph Conrad: offer to catch hold of for dear life. But what could
there be behind?
Before they had parted, after appointing a meeting
in a solicitor's office early on the morrow, Massy was
asking himself, What is his motive? He spent the night
in hammering out the clauses of the agreement--a
unique instrument of its sort whose tenor got bruited
abroad somehow and became the talk and wonder of the
port.
Massy's object had been to secure for himself as many
ways as possible of getting rid of his partner without
End of the Tether |
The third excerpt represents the future or something you must embrace, and is drawn from Tom Grogan by F. Hopkinson Smith: "Naw. Patsy an' me studies nights. Pop Mullins teaches us--he's
de ole woman's farder what she brung out from Ireland. He's
a-livin' up ter de shebang; dey're all a-livin' dere--Jinnie an'
de ole woman an' Patsy--all 'cept me an' Carl. I bunks in wid de
Big Gray. Say, mister, ye'd oughter git onter Patsy--he's de
little kid wid de crutch. He's a corker, he is; reads po'try an'
everythin'. Where'll I sign? Oh, I see; in dis'ere square hole
right along-side de ole woman's name"--spreading his elbows, pen
in hand, and affixing "James Finnegan" to the collection of
autographs. The next moment he was running along the dock, the
money envelope tight in his hand, sticking out his tongue at
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