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Today's Stichomancy for Kim Kardashian

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Tanach:

1_Kings 11: 20 And the sister of Tahpenes bore him Genubath his son, whom Tahpenes weaned in Pharaoh's house; and Genubath was in Pharaoh's house among the sons of Pharaoh.

1_Kings 11: 21 And when Hadad heard in Egypt that David slept with his fathers, and that Joab the captain of the host was dead, Hadad said to Pharaoh: 'Let me depart, that I may go to mine own country.'

1_Kings 11: 22 Then Pharaoh said unto him: `But what hast thou lacked with me, that, behold, thou seekest to go to thine own country?' And he answered: 'Nothing; howbeit let me depart in any wise.'

1_Kings 11: 23 And God raised up another adversary unto him, Rezon the son of Eliada, who had fled from his lord Hadadezer king of Zobah.

1_Kings 11: 24 And he gathered men unto him, and became captain over a troop, when David slew them of Zobah; and they went to Damascus, and dwelt therein, and reigned in Damascus.

1_Kings 11: 25 And he was an adversary to Israel all the days of Solomon, beside the mischief that Hadad did; and he abhorred Israel, and reigned over Aram.

1_Kings 11: 26 And Jeroboam the son of Nebat, an Ephraimite of Zeredah, a servant of Solomon, whose mother's name was Zeruah, a widow, he also lifted up his hand against the king.

1_Kings 11: 27 And this was the cause that he lifted up his hand against the king: Solomon built Millo, and repaired the breach of the city of David his father.

1_Kings 11: 28 And the man Jeroboam was a mighty man of valour; and Solomon saw the young man that he was industrious, and he gave him charge over all the labour of the house of Joseph.

1_Kings 11: 29 And it came to pass at that time, when Jeroboam went out of Jerusalem, that the prophet Ahijah the Shilonite found him in the way; now Ahijah had clad himself with a new garment; and


The Tanach
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Flatland: A Romance of Many Dimensions by Edwin A. Abbot:

is really a Circle, but only a Polygon with a very large number of very small sides. As the number of the sides increases, a Polygon approximates to a Circle; and, when the number is very great indeed, say for example three or four hundred, it is extremely difficult for the most delicate touch to feel any polygonal angles. Let me say rather, it WOULD be difficult: for, as I have shown above, Recognition by Feeling is unknown among the highest society, and to FEEL a Circle would be considered a most audacious insult. This habit of abstention from Feeling in the best society enables a Circle the more easily to sustain the veil of mystery in which, from his earliest years, he is wont


Flatland: A Romance of Many Dimensions
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Travels of Sir John Mandeville by Sir John Mandeville:

land of Christian men. And, therefore, that after Ind and after Cathay the Emperor of Persia is the greatest lord, therefore, I shall tell you of the kingdom of Persia.

First, where he hath two kingdoms, the first kingdom beginneth toward the east, toward the kingdom of Turkestan, and it stretcheth toward the west unto the river of Pison, that is one of the four rivers that come out of Paradise. And on another side it stretcheth toward the Septentrion unto the sea of Caspian; and also toward the south unto the desert of Ind. And this country is good and plain and full of people. And there be many good cities. But the two principal cities be these, Boyturra, and Seornergant, that

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The Art of Writing by Robert Louis Stevenson:

enjoy the use of a plastic and ductile material, like the modeller's clay; literature alone is condemned to work in mosaic with finite and quite rigid words. You have seen these blocks, dear to the nursery: this one a pillar, that a pediment, a third a window or a vase. It is with blocks of just such arbitrary size and figure that the literary architect is condemned to design the palace of his art. Nor is this all; for since these blocks, or words, are the acknowledged currency of our daily affairs, there are here possible none of those suppressions by which other arts obtain relief, continuity, and vigour: no hieroglyphic