| The first excerpt represents the past or something you must release, and is drawn from The Call of the Wild by Jack London: trunk inclined forward from the hips, on legs that bent at the
knees. About his body there was a peculiar springiness, or
resiliency, almost catlike, and a quick alertness as of one who
lived in perpetual fear of things seen and unseen.
At other times this hairy man squatted by the fire with head
between his legs and slept. On such occasions his elbows were on
his knees, his hands clasped above his head as though to shed rain
by the hairy arms. And beyond that fire, in the circling
darkness, Buck could see many gleaming coals, two by two, always
two by two, which he knew to be the eyes of great beasts of prey.
And he could hear the crashing of their bodies through the
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: the gnarled woman, and finally stopped outside his home and listened.
He could hear his mother moving heavily about among the
furniture of the room. She was chanting in a mournful voice,
occasionally interjecting bursts of volcanic wrath at the father,
who, Jimmie judged, had sunk down on the floor or in a corner.
"Why deh blazes don' chere try teh keep Jim from fightin'?
I'll break her jaw," she suddenly bellowed.
The man mumbled with drunken indifference. "Ah, wha' deh
hell. W'a's odds? Wha' makes kick?"
"Because he tears 'is clothes, yeh damn fool," cried the woman
in supreme wrath.
Maggie: A Girl of the Streets |
The third excerpt represents the future or something you must embrace, and is drawn from The Mysterious Affair at Styles by Agatha Christie: lot!" And he leered more jocosely than ever.
"Why, do the gentlemen from the Hall come here often?" I asked,
as carelessly as I could.
He winked at me knowingly.
"*ONE does, mister. Naming no names, mind. And a very liberal
gentleman too! Oh, thank you, sir, I'm sure."
I walked on sharply. Evelyn Howard had been right then, and I
experienced a sharp twinge of disgust, as I thought of Alfred
Inglethorp's liberality with another woman's money. Had that
piquant gipsy face been at the bottom of the crime, or was it the
baser mainspring of money? Probably a judicious mixture of both.
The Mysterious Affair at Styles |
