| The first excerpt represents the past or something you must release, and is drawn from Padre Ignacio by Owen Wister: Villere. Each of these servants wore one single white garment, and
offered the many dishes to the gente fina and refilled their glasses. At
the lower end of the table a general attendant wafted upon mesclados--the
half-breeds. There was meat with spices, and roasted quail, with various
cakes and other preparations of grain; also the brown fresh olives and
grapes, with several sorts of figs and plums, and preserved fruits, and
white and red wine--the white fifty years old. Beneath the quiet shining
of candles, fresh-cut flowers leaned from vessels of old Mexican and
Spanish make.
There at one end of this feast sat the wild, pastoral, gaudy company,
speaking little over their food; and there at the other the pale Padre,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tom Grogan by F. Hopkinson Smith: small extension fell, and a great burst of flame shot up into the
night air. All hope of rescuing the other two horses was now
gone.
Tom did not stand long dazed and bewildered. In a twinkling she
had drawn on a pair of men's boots over her bare feet, buckled her
ulster over her night-dress, and rushed back upstairs to drag the
blankets from the beds. Laden with these she sprang down the
steps, called to Jennie to follow, soaked the bedding in the
water-trough, and, picking up the dripping mass, carried it to
Carl and Cully, who, now that the Gray was safely tied to the
kitchen porch, were on the roof of the tool-house, fighting the
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The third excerpt represents the future or something you must embrace, and is drawn from Night and Day by Virginia Woolf: opposite her mother of a morning at a table heaped with bundles of old
letters and well supplied with pencils, scissors, bottles of gum,
india-rubber bands, large envelopes, and other appliances for the
manufacture of books. Shortly before Ralph Denham's visit, Katharine
had resolved to try the effect of strict rules upon her mother's
habits of literary composition. They were to be seated at their tables
every morning at ten o'clock, with a clean-swept morning of empty,
secluded hours before them. They were to keep their eyes fast upon the
paper, and nothing was to tempt them to speech, save at the stroke of
the hour when ten minutes for relaxation were to be allowed them. If
these rules were observed for a year, she made out on a sheet of paper
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