Today's Stichomancy for Isaac Asimov

perfect freedom. Here we allow absolute freedom to the journalist, and entirely limit the artist. English public opinion, that is to say, tries to constrain and impede and warp the man who makes things that are beautiful in effect, and compels the journalist to retail things that are ugly, or disgusting, or revolting in fact, so that we have the most serious journalists in the world, and the most indecent newspapers. It is no exaggeration to talk of compulsion. There are possibly some journalists who take a real pleasure in publishing horrible things, or who, being poor, look to scandals as forming a sort of permanent basis for an income. But there are other journalists, I feel certain, men of education and

and pushed open the door and entered. It was nothing but a tiny, unfinished shack, with one room and a small one opening from it. There was no ceiling; overhead was the tent-like slant of the roof, but it was tight. The dusty floor was quite dry. There was one rickety chair. Stebbins, after looking into the other room to make sure that the place was empty, sat down, and a wonderful wave of content and self-respect came over him. The poor human snail had found his shell; he had a habitation, a roof of shelter. The little dim place

a score of border ruffians who owed him a grudge and would be glad to pay it in the silent desert that tells no tales and betrays no secrets to the inquisitive.

He flung the bridle-rein over his pony's neck and crept forward on foot, warily and noiselessly. While still some little way from the water-hole he was arrested by a sound that startled him. He could make out a raucous voice in anger and a pianissimo accompaniment of womanish sobs.

"You're mine to do with as I like. I'm your uncle. I've raised you from a kid, and, by the great mogul! you can't sneak off with the first good-for nothing scoundrel that makes eyes at you.

about them. It's because you've spent your time working an' caring for money. You can't talk nor move nor live, you can't properly be with a woman. You're not alive. Look at yourselves!'

There fell a complete silence. Connie was half listening, and threading in the hair at the root of his belly a few forget-me-nots that she had gathered on the way to the hut. Outside, the world had gone still, and a little icy.

'You've got four kinds of hair,' she said to him. 'On your chest it's nearly black, and your hair isn't dark on your head: but your moustache is hard and dark red, and your hair here, your love-hair, is like a little brush of bright red-gold mistletoe. It's the loveliest of all!'

Lady Chatterley's Lover