| The first excerpt represents the past or something you must release, and is drawn from At the Mountains of Madness by H. P. Lovecraft: irrelevance nor home feeling. It had only horror, because I knew
unerringly the monstrous, nefandous analogy that had suggested
it. We had expected, upon looking back, to see a terrible and
incredible moving entity if the mists were thin enough; but of
that entity we had formed a clear idea. What we did see - for
the mists were indeed all too maliguly thinned - was something
altogether different, and immeasurably more hideous and detestable.
It was the utter, objective embodiment of the fantastic novelist’s
"thing that should not be"; and its nearest comprehensible analogue
is a vast, onrushing subway train as one sees it from a station
platform - the great black front looming colossally out of infinite
At the Mountains of Madness |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Land of Footprints by Stewart Edward White: clear, save for low papyrus, ten feet down below a steep eroded
bank. F. looked over and uttered a startled exclamation. I
spurred my horse forward to see.
Below us, about fifteen yards away, was the carcass of a
waterbuck half hidden in the foot-high grass. A lion and two
lionesses stood upon it, staring up at us with great yellow eyes.
That picture is a very vivid one in my memory, for those were the
first wild lions I had ever seen. My most lively impression was
of their unexpected size. They seemed to bulk fully a third
larger than my expectation.
The magnificent beasts stood only long enough to see clearly what
|
The third excerpt represents the future or something you must embrace, and is drawn from 1984 by George Orwell: Winston roused himself and sat up straighter. He let out a belch. The gin
was rising from his stomach.
His eyes re-focused on the page. He discovered that while he sat helplessly
musing he had also been writing, as though by automatic action. And it was
no longer the same cramped, awkward handwriting as before. His pen had slid
voluptuously over the smooth paper, printing in large neat capitals--
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
1984 |
