| The first excerpt represents the past or something you must release, and is drawn from To the Lighthouse by Virginia Woolf: simplicity and good sense of his relations with his mother. By looking
fixedly at the page, he hoped to make him move on; by pointing his finger
at a word, he hoped to recall his mother's attention, which, he knew
angrily, wavered instantly his father stopped. But, no. Nothing would
make Mr Ramsay move on. There he stood, demanding sympathy.
Mrs Ramsay, who had been sitting loosely, folding her son in her arm,
braced herself, and, half turning, seemed to raise herself with an effort,
and at once to pour erect into the air a rain of energy, a column of
spray, looking at the same time animated and alive as if all her energies
were being fused into force, burning and illuminating (quietly though she
sat, taking up her stocking again), and into this delicious fecundity,
To the Lighthouse |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Waste Land by T. S. Eliot: And on the king my father's death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat's foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter 200
They wash their feet in soda water
_Et, O ces voix d'enfants, chantant dans la coupole!_
The Waste Land |
The third excerpt represents the future or something you must embrace, and is drawn from At the Mountains of Madness by H. P. Lovecraft: case the tunnel would probably turn out to be choked, so that
we would have to try the next nearest one - the one less than
a mile to the north. The intervening river course prevented our
trying any of the more southern tunnels on this trip; and indeed,
if both of the neighboring ones were choked it was doubtful whether
our batteries would warrant an attempt on the next northerly one
- about a mile beyond our second choice.
As we threaded our
dim way through the labyrinth with the aid of map and compass
- traversing rooms and corridors in every stage of ruin or preservation,
clambering up ramps, crossing upper floors and bridges and clambering
At the Mountains of Madness |
