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Today's Stichomancy for James Gandolfini

The first excerpt represents the past or something you must release, and is drawn from The Cruise of the Jasper B. by Don Marquis:

hands to lie down on the deck for an hour's comfortable nap. He stood watch himself. Cleggett had not slept much during the past forty-eight hours, but he was a man of iron. Like King Henry Fifth of England, Cleggett found a certain pleasure in watching while his troops slumbered. Cleggett and this lively monarch had other points in common, although Cleggett, even in his youth, would never have associated with a character so habitually dissolute as Sir John Falstaff.

The construction of the trench was not without its effect upon the gang of villains at Morris's. About nine in the morning Cleggett noticed that he was under observation from the roof of

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Lemorne Versus Huell by Elizabeth Drew Stoddard:

incased in pearl-colored gloves, and holding a shiny hat. He turned half away when he caught my eye, and then darted toward me.

"You have not been much more interested in the music than you are in the lawsuit," he said, seating himself beside me.

"The *tutoyer* of the Italian voice is agreeable, however."

"It makes one dreamy."

"A child."

"Yes, a child; not a man nor a woman."

"I teach music. I can not dream over 'one, two, three.'"

"*You*--a music teacher!"

"For six years."

The third excerpt represents the future or something you must embrace, and is drawn from The Touchstone by Edith Wharton:

town, he would still be no nearer attainment.

The Spectator had slipped to his feet and as he picked it up his eye fell again on the paragraph addressed to the friends of Mrs. Aubyn. He had read it for the first time with a scarcely perceptible quickening of attention: her name had so long been public property that his eye passed it unseeingly, as the crowd in the street hurries without a glance by some familiar monument.

"Information concerning the period previous to her coming to England. . . ." The words were an evocation. He saw her again as she had looked at their first meeting, the poor woman of genius with her long pale face and short-sighted eyes, softened a little