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Today's Stichomancy for Britney Spears

The first excerpt represents the past or something you must release, and is drawn from Stories From the Old Attic by Robert Harris:

themselves to such activities as making baskets, repairing their huts, caring for their children, and gathering food. Some even began to question the wisdom of collecting stacks of wood more than twenty feet high.

Such wild, unusual, and anti-social behavior did not go unnoticed by the other natives, who quickly ostracized the cured natives from the tribal camp, calling them enemies of the current system. And even though many of the delirious natives began to suspect that the cured natives were somehow better off than they, and that there might be more to living than sleeping on dunghills and finding new trees to jump out of, resistance to the cure was strong. First, almost all

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Taras Bulba and Other Tales by Nikolai Vasilievich Gogol:

and pomades; hired the first elegant suite of apartments with mirrors and plateglass windows which he came across in the Nevsky Prospect, without haggling about the price; bought, on the impulse of the moment, a costly eye-glass; bought, also on the impulse, a number of neckties of every description, many more than he needed; had his hair curled at the hairdresser's; rode through the city twice without any object whatever; ate an immense quantity of sweetmeats at the confectioner's; and went to the French Restaurant, of which he had heard rumours as indistinct as though they had concerned the Empire of China. There he dined, casting proud glances at the other visitors, and continually arranging his curls in the glass. There he drank a

Taras Bulba and Other Tales
The third excerpt represents the future or something you must embrace, and is drawn from The Silverado Squatters by Robert Louis Stevenson:

after the pattern of Jack Sheppard; but the famous housebreaker, we may be certain, was no lout. It was by the extraordinary powers of his mind no less than by the vigour of his body, that he broke his strong prison with such imperfect implements, turning the very obstacles to service. Irvine, in the same case, would have sat down and spat, and grumbled curses. He had the soul of a fat sheep, but, regarded as an artist's model, the exterior of a Greek God. It was a cruel thought to persons less favoured in their birth, that this creature, endowed - to use the language of theatres - with extraordinary "means," should so manage to