| The first excerpt represents the past or something you must release, and is drawn from Moran of the Lady Letty by Frank Norris: shark, son. Just look at the hundreds of 'em. There's a stiff on
board, sure."
Wilbur steadied himself on the swaying broken deck, choking
against the reek of coal-gas that hissed upward on every hand.
The heat was almost like a furnace. Everything metal was
intolerable to the touch.
"She's abandoned, sure," muttered the Captain. "Look," and he
pointed to the empty chocks on the house and the severed lashings.
"Oh, it's a haul, son; it's a haul, an' you can lay to that. Now,
then, cabin first," and he started aft.
But it was impossible to go into the cabin. The moment the door
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Iron Puddler by James J. Davis: are seen as three or four fiery serpents shoot forth from
different trains of rollers, and are carried away, wrought iron
fit for bridging the creek, shoeing the mule and hooping the
barrel that brings the farmers apples into town.
"Life in these mills is a terrible life," the reformers say.
"Men are ground down to scrap and are thrown out as wreckage."
This may be so, but my life was spent in the mills and I failed
to discover it. I went in a stripling and grew into manhood with
muscled arms big as a bookkeeper's legs. The gases, they say,
will destroy a man's lungs, but I worked all day in the mills and
had wind enough left to toot a clarinet in the band. I lusted for
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The third excerpt represents the future or something you must embrace, and is drawn from American Notes by Rudyard Kipling: unthrifty sand hills, to-day pegged down by houses.
From an English point of view there has not been the least
attempt at grading those hills, and indeed you might as well try
to grade the hillocks of Sind. The cable cars have for all
practical purposes made San Francisco a dead level. They take no
count of rise or fall, but slide equably on their appointed
courses from one end to the other of a six-mile street. They
turn corners almost at right angles, cross other lines, and for
aught I know may run up the sides of houses. There is no visible
agency of their flight, but once in awhile you shall pass a
five-storied building humming with machinery that winds up an
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