| The first excerpt represents the past or something you must release, and is drawn from The Underdogs by Mariano Azuela: Look, look, how careful you are about everything! And
what did you put on your hands? Really. . . . And why
did you pour on alcohol? I just knew alcohol was good
to rub on when you had a bellyache, but . . . Oh, I
see! So you was going to be a doctor, huh? Ha, ha, that's
a good one! Why don't you mix it with cold water?
Well, there's a funny sort of a trick. Oh, stop fooling
me . . . the idea: little animals alive in the water unless
you boil it! Ugh! Well, I can't see nothing in it myself."
Camilla continued to cross-question him with such fa-
miliarity that she suddenly found herself addressing him
The Underdogs |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Human Drift by Jack London: under water and the wavelets lapping the companion-way combing,
the sturdy little craft shivered and shook herself and pointed her
masts once more to the zenith.
There is never lack of exercise in small-boat sailing, and the
hard work is not only part of the fun of it, but it beats the
doctors. San Francisco Bay is no mill pond. It is a large and
draughty and variegated piece of water. I remember, one winter
evening, trying to enter the mouth of the Sacramento. There was a
freshet on the river, the flood tide from the bay had been beaten
back into a strong ebb, and the lusty west wind died down with the
sun. It was just sunset, and with a fair to middling breeze, dead
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The third excerpt represents the future or something you must embrace, and is drawn from Enemies of Books by William Blades: _A Collection of upwards of_ 800 ENGRAVED TITLES AND FRONTISPIECES,
ENGLISH AND FOREIGN (_some very fine and curious) taken from
old books and neatly mounted on cartridge paper in 3 vol,
half morocco gilt. imp. folio_."
The only collection of title-pages which has afforded me unalloyed pleasure is
a handsome folio, published by the directors of the Plantin Museum, Antwerp,
in 1877, just after the purchase of that wonderful typographical storehouse.
It is called "Titels en Portretten gesneden naar P. P. Rubens voor de
Plantijnsche Drukkerij," and it contains thirty-five grand title pages,
reprinted from the original seventeenth century plates, designed by Rubens
himself between the years 1612 and 1640, for various publications which
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