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Today's Stichomancy for Nick Cave

The first excerpt represents the past or something you must release, and is drawn from Frances Waldeaux by Rebecca Davis:

deck," the man added, smiling. Land is in sight."

Land! And George had not come to tell her! He must be desperately ill!

She groped up the steps, holding by the brass rail. "I will give him a fine surprise!" she said to herself. "I can take care of him, now. To-night we shall be on shore and this misery all over. And then the great joy will begin!"

She came out on deck. The sunshine and cold pure wind met her. She looked along the crowded deck for her invalid. Every-body was in holiday clothes, every-body

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Pivot of Civilization by Margaret Sanger:

paradise. So must we necessarily and inevitably conceive of sex- expression. The instinct is here. None of us can avoid it. It is in our power to make it a thing of beauty and a joy forever: or to deny it, as have the ascetics of the past, to revile this expression and then to pay the penalty, the bitter penalty that Society to-day is paying in innumerable ways.

If I am criticized for the seeming ``selfishness'' of this conception it will be through a misunderstanding. The individual is fulfiling his duty to society as a whole by not self-sacrifice but by self- development. He does his best for the world not by dying for it, not by increasing the sum total of misery, disease and unhappiness, but by

The third excerpt represents the future or something you must embrace, and is drawn from Weir of Hermiston by Robert Louis Stevenson:

feverishly of something else, like a nervous person at a fire. The image that she most complacently dwelt on was that of Miss Christina in her character of the Fair Lass of Cauldstaneslap, carrying all before her in the straw-coloured frock, the violet mantle, and the yellow cobweb stockings. Archie's image, on the other hand, when it presented itself was never welcomed - far less welcomed with any ardour, and it was exposed at times to merciless criticism. In the long vague dialogues she held in her mind, often with imaginary, often with unrealised interlocutors, Archie, if he were referred to at all came in for savage handling. He was described as "looking like a stork," "staring like a caulf," "a face like a ghaist's." "Do you call that manners?" she said; or, "I soon put