| The first excerpt represents the past or something you must release, and is drawn from The Underdogs by Mariano Azuela: table.
He turned his head toward her and literally collided
with a pair of lubric eyes under a narrow forehead and
thick, straight hair, parted in the middle.
The door opened wide. Anastasio, Pancracio, Quail,
and Meco filed in, dazed.
Anastasio uttered a cry of surprise and stepped for-
ward to shake hands with the little fat man wearing a
charro suit and a lavender bandanna. A pair of old
friends, met again. So warm was their embrace, so tightly
they clutched each other that the blood rushed to their
The Underdogs |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Proposed Roads To Freedom by Bertrand Russell: For this reason, a great deal will depend, not only
in material ways, upon the question whether methods
of production in industry and agriculture become
stereotyped or continue to change rapidly as they
have done during the last hundred years. Improved
methods of production will be much more obviously
than now to the interest of the community at large,
when what every man receives is his due share of the
total produce of labor. But there will probably not
be any individuals with the same direct and intense
interest in technical improvements as now belongs
|
The third excerpt represents the future or something you must embrace, and is drawn from Verses 1889-1896 by Rudyard Kipling: We've gone beyond the funkin', 'cause we've found it doesn't pay,
An' we're rockin' round the Districk on ten deaths a day!
Then strike your camp an' go, the Rains are fallin',
The Bugle's callin'!
The dead are bushed an' stoned to keep 'em safe below!
An' them that do not like it they can lump it,
An' them that cannot stand it they can jump it;
We've got to die somewhere -- some way -- some'ow --
We might as well begin to do it now!
Then, Number One, let down the tent-pole slow,
Verses 1889-1896 |
