| The first excerpt represents the past or something you must release, and is drawn from U. S. Project Trinity Report by Carl Maag and Steve Rohrer: about 325 was reached the week before the detonation (2; 12).
On 7 May 1945 at 0437 hours, 200 LASL scientists and technicians
exploded 100 tons of conventional high explosives at the test site.
The explosives were stacked on top of a 20-foot tower and contained
tubes of radioactive solution to simulate, at a low level of activity,
the radioactive products expected from a nuclear explosion. The test
produced a bright sphere which spread out in an oval form. A column
of smoke and debris rose as high as 15,000 feet before drifting
eastward. The explosion left a shallow crater 1.5 meters deep and 9
meters wide. Monitoring in the area revealed a level of radioactivity
low enough to allow workers to spend several hours in the area (3;
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Beasts of Tarzan by Edgar Rice Burroughs: Tarzan, among his other weapons, possessed a long, stout
cudgel, and after fastening his rope about the panther's neck
he used this instrument freely upon the snarling beast,
endeavouring in this way to impress upon its memory that
it must not attack the great, shaggy manlike creatures that
had approached more closely once they had seen the purpose
of the rope about Sheeta's neck.
That the cat did not turn and rend Tarzan is something of
a miracle which may possibly be accounted for by the fact
that twice when it turned growling upon the ape-man he had
rapped it sharply upon its sensitive nose, inculcating in its
The Beasts of Tarzan |
The third excerpt represents the future or something you must embrace, and is drawn from Two Poets by Honore de Balzac: Lucien was in the third heaven.
One evening when Lucien came in, he found Mme. de Bargeton looking at
a portrait, which she promptly put away. He wished to see it, and to
quiet the despair of a first fit of jealousy Louise showed him Cante-
Croix's picture, and told with tears the piteous story of a love so
stainless, so cruelly cut short. Was she experimenting with herself?
Was she trying a first unfaithfulness to the memory of the dead? Or
had she taken it into her head to raise up a rival to Lucien in the
portrait? Lucien was too much of a boy to analyze his lady-love; he
gave way to unfeigned despair when she opened the campaign by
entrenching herself behind the more or less skilfully devised scruples
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