| The first excerpt represents the past or something you must release, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: to demonstration of any sort. She kissed his ring.
Followed directions about sending the money from the church society,
a description of Morley's and Trafalgar Square, an account of tea at
the Travers', and of the little donkey - without mention, however, of
Henri. She felt that Harvey would not understand Henri.
But at the end came the passage which poor Harvey read and re-read
when the letter came, and alternately ground his teeth over and kissed.
"I do love you, Harvey dear. And I am coming back to you. I have felt
that I had to do what I am doing, but I am coming back. That's a
promise. Unless, of course, I should take sick, or something like that,
which isn't likely."
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Unconscious Comedians by Honore de Balzac: we've got a little machine more powerful than all the forts in the
world,--a machine, due to a doctor, which cured more people during the
short time we worked it than the doctors ever killed."
"How you talk!" exclaimed Gazonal, whose flesh began to creep at
Publicola's air and manner.
"Ha! that's the thing we rely on! We follow Saint-Just and
Robespierre; but we'll do better than they; they were timid, and you
see what came of it; an emperor! the elder branch! the younger branch!
The Montagnards didn't lop the social tree enough."
"Ah ca! you, who will be, they tell me, consul, or something of that
kind, tribune perhaps, be good enough to remember," said Bixiou, "that
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The third excerpt represents the future or something you must embrace, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber: before press time, when the lights are swimming in a smoky
haze, and the big presses downstairs are thundering their
warning to hurry, and the men are breezing in from their
runs with the grist of news that will be ground finer and
finer as it passes through the mill of copy-readers' and
editors' hands. I want to be there in the thick of the
confusion that is, after all, so orderly. I want to be
there when the telephone bells are zinging, and the
typewriters are snapping, and the messenger boys are
shuffling in and out, and the office kids are scuffling
in a corner, and the big city editor, collar off, sleeves
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