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Today's Stichomancy for The Rock

The first excerpt represents the past or something you must release, and is drawn from The Insidious Dr. Fu-Manchu by Sax Rohmer:

crash that seemed to set my very bones vibrating--a metallic, jangling crash, as the fall of heavy chains. I thought that, then, I half opened my eyes, and that in the dimness I had a fleeting glimpse of a figure clad in gossamer silk, with arms covered with barbaric bangles and slim ankles surrounded by gold bands. The girl was gone, even as I told myself that she was an houri, and that I, though a Christian, had been consigned by some error to the paradise of Mohammed.

Then--a complete blank.

My head throbbed madly; my brain seemed to be clogged--inert; and though my first, feeble movement was followed by the rattle of a chain, some moments


The Insidious Dr. Fu-Manchu
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Manon Lescaut by Abbe Prevost:

escaping for although I had been hardly half an hour with her, I began to dread the return of G---- M----. However, she so earnestly urged me to consent to our going out with something in our pockets, that I thought myself bound to make her, on my part, some concession, in return for all she yielded to me.

"While we were getting ready for our departure, I heard someone knock at the street door. I felt convinced that it must be G---- M----; and in the heat of the moment, I told Manon, that as sure as he appeared I would take his life. In truth, I felt that I was not sufficiently recovered from my late excitement to be able to restrain my fury if I met him. Marcel put an end to my

The third excerpt represents the future or something you must embrace, and is drawn from The Human Drift by Jack London:

women. You have only yourself to blame.

NED. [Admiringly.] You talk so convincingly. I almost believe you as I listen to you. And yet I know all the time that you are like all the rest of your sex--faithless, unveracious, and . . .

[He glares at her, but does not proceed.]

ALICE HEMINGWAY. Go on. I'm not afraid.

NED. [With finality.] And immoral.

ALICE HEMINGWAY. Oh! You wretch!

NED. [Gloatingly.] That's right. Get angry. You may break the furniture if you wish. I don't mind.

ALICE HEMINGWAY. [With sudden change of front, softly.] And how