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Today's Stichomancy for Arnold Schwarzenegger

The first excerpt represents the past or something you must release, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber:

year came crowding to my mind as I crouched there at the window. Four new friends, tried and true! I conned them over joyously in my heart. What a strange contrast they made! Blackie, of the elastic morals, and the still more elastic heart; Frau Nirlanger, of the smiling lips and the lilting voice and the tragic eyes--she who had stooped from a great height to pluck the flower of love blooming below, only to find a worthless weed sullying her hand; Alma Pflugel, with the unquenchable light of gratefulness in her honest face; Von Gerhard, ready to act as buffer between myself and the world, tender as a

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Babbitt by Sinclair Lewis:


He had to assure her. She stroked his hair, and he had to look pleased under that touch, the more demanding in its beguiling softness. He was impatient. He wanted to flee out to a hard, sure, unemotional man-world. Through her delicate and caressing fingers she may have caught something of his shrugging distaste. She left him--he was for the moment buoyantly relieved--she dragged a footstool to his feet and sat looking beseechingly up at him. But as in many men the cringing of a dog, the flinching of a frightened child, rouse not pity but a surprised and jerky cruelty, so her humility only annoyed him. And he saw her now as middle-aged, as beginning to be old. Even while he detested his own thoughts, they rode him. She was old, he winced. Old! He noted how the

The third excerpt represents the future or something you must embrace, and is drawn from Unconscious Comedians by Honore de Balzac:

"Porters, paupers, actors, dancers," replied Bixiou. "Only the lowest depths of poverty could force a child to subject her feet and joints to positive torture, to keep herself virtuous out of mere speculation until she is eighteen years of age, and to live with some horrible old crone like a beautiful plant in a dressing of manure. You shall see now a procession defiling before you, one after the other, of men of talent, little and great, artists in seed or flower, who are raising to the glory of France that every-day monument called the Opera, an assemblage of forces, wills, and forms of genius, nowhere collected as in Paris.

"I have already seen the Opera," said Gazonal, with a self-sufficient