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Today's Stichomancy for Kurt Cobain

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Blue Flower by Henry van Dyke:

month's, lodging at the inn. My journey is a ramble, it has neither terminus nor time-table."

"Then let me commend to you something vastly better than the tender mercies of the Canterbury Inn. Come with me to the school on Hilltop, where I am a teacher. It is a thousand feet above the village--purer air, finer view, and pleasanter company. There is plenty of room in the house, for it is vacation-time. Master Isaac Ward is always glad to entertain guests."

There was something so sudden and unconventional about the invitation that I was reluctant to accept it; but he gave it

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Where There's A Will by Mary Roberts Rinehart:

was frozen. He's been carrying out boiling water all afternoon. If it stays in there and freezes the thing will explode."

He wasn't listening. He'd been fussing with his package and now he opened it and handed it to me, in the paper.

"It's a sweater," he said, not looking at me. "I bought it for myself and it was too small-- Confound it, Minnie, I wish I could lie! I bought them for you! There's the whole business-- sweater, cap, leggings and mittens. Go on! Throw them at me!"

But I didn't. I looked at them, all white and soft, and it came over me suddenly how kind people had been lately, and how much I'd been getting--the old doctor's waistcoat buttons and Miss

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Essays & Lectures by Oscar Wilde:

that mere temporal considerations are no principle at all; and that those who advise you to make your art representative of the nineteenth century are advising you to produce an art which your children, when you have them, will think old-fashioned. But you will tell me this is an inartistic age, and we are an inartistic people, and the artist suffers much in this nineteenth century of ours.

Of course he does. I, of all men, am not going to deny that. But remember that there never has been an artistic age, or an artistic people, since the beginning of the world. The artist has always been, and will always be, an exquisite exception. There is no

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 Glaucus/The Wonders of the Shore by Charles Kingsley:

success, have had a training the directly opposite to that which they are giving to their sons. They are for the most part men who have migrated from the country to the town, and had in their youth all the advantages of a sturdy and manful hill-side or sea-side training; men whose bodies were developed, and their lungs fed on pure breezes, long before they brought to work in the city the bodily and mental strength which they had gained by loch and moor. But it is not so with their sons. Their business habits are learnt in the counting-house; a good school, doubtless, as far as it goes: but one which will expand none but the lowest intellectual faculties; which will make them accurate accountants, shrewd