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Today's Stichomancy for Jay Leno

The first excerpt represents the past or something you must release, and is drawn from The Kreutzer Sonata by Leo Tolstoy:

was purposely deadening the words by the aid of the piano.

"My God! How my heart leaped! What were my imaginations! When I remember the beast that lived in me at that moment, I am seized with fright. My heart was first compressed, then stopped, and then began to beat like a hammer. The principal feeling, as in every bad feeling, was pity for myself. 'Before the children, before the old nurse,' thought I, 'she dishonors me. I will go away. I can endure it no longer. God knows what I should do if. . . . But I must go in.'

The old nurse raised her eyes to mine, as if she understood, and advised me to keep a sharp watch. 'I must go in,' I said to


The Kreutzer Sonata
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Poems by T. S. Eliot:

After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor-- And this, and so much more?-- It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all."

The third excerpt represents the future or something you must embrace, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton:

into their faces. . . . Well, paint was the one medium those dead eyes could see through--see straight to the tottering foundations underneath. Don't you know how, in talking a foreign language, even fluently, one says half the time not what one wants to but what one can? Well--that was the way I painted; and as he lay there and watched me, the thing they called my 'technique' collapsed like a house of cards. He didn't sneer, you understand, poor Stroud--he just lay there quietly watching, and on his lips, through the gray beard, I seemed to hear the question: 'Are you sure you know where you're coming out?'

"If I could have painted that face, with that question on it, I