| The first excerpt represents the past or something you must release, and is drawn from The Dunwich Horror by H. P. Lovecraft: and the men of Dunwich braced themselves tensely against some
imponderable menace with which the atmosphere seemed surcharged.
Without warning came those deep, cracked, raucous vocal sounds
which will never leave the memory of the stricken group who heard
them. Not from any human throat were they born, for the organs
of man can yield no such acoustic perversions. Rather would one
have said they came from the pit itself, had not their source
been so unmistakably the altar-stone on the peak. It is almost
erroneous to call them sounds at all, since so much of their ghastly,
infra-bass timbre spoke to dim seats of consciousness and terror
far subtler than the ear; yet one must do so, since their form
The Dunwich Horror |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from This Side of Paradise by F. Scott Fitzgerald: statea grotesque blending of desires, worries, exterior
impressions and physical reactions.
One Hundred and Twenty-seventh Streetor One Hundred and
Thirty-seventh Street.... Two and three look alikeno, not much.
Seat damp ... are clothes absorbing wetness from seat, or seat
absorbing dryness from clothes?... Sitting on wet substance gave
appendicitis, so Froggy Parker's mother said. Well, he'd had
itI'll sue the steamboat company, Beatrice said, and my uncle has
a quarter interestdid Beatrice go to heaven?... probably not He
represented Beatrice's immortality, also love-affairs of numerous
dead men who surely had never thought of him ... if it wasn't
This Side of Paradise |
The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: festoon the black velvet doublet of the old man with a heavy gold
chain, and you will have a faint idea of the exterior of this strange
individual, to whose appearance the dusky light of the landing lent
fantastic coloring. You might have thought that a canvas of Rembrandt
without its frame had walked silently up the stairway, bringing with
it the dark atmosphere which was the sign-manual of the great master.
The old man cast a look upon the youth which was full of sagacity;
then he rapped three times upon the door, and said, when it was opened
by a man in feeble health, apparently about forty years of age, "Good-
morning, maitre."
Porbus bowed respectfully, and made way for his guest, allowing the
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