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Today's Stichomancy for Jennifer Aniston

The first excerpt represents the past or something you must release, and is drawn from The Dunwich Horror by H. P. Lovecraft:

valley, and about the monstrous being known to the human world as Wilbur Whateley. VI. The Dunwich horror itself came between Lammas and the equinox in 1928, and Dr Armitage was among those who witnessed its monstrous prologue. He had heard, meanwhile, of Whateley's grotesque trip to Cambridge, and of his frantic efforts to borrow or copy from the Necronomicon at the Widener Library. Those efforts had been in vain, since Armitage had issued warnings of the keenest intensity to all librarians having charge of the dreaded volume. Wilbur had been shockingly nervous at Cambridge;


The Dunwich Horror
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Fairy Tales by Hans Christian Andersen:

croaking--and he gained the summit before the sun had quite gone down. How magnificent was the sight from this height! The sea--the great, the glorious sea, that dashed its long waves against the coast--was stretched out before him. And yonder, where sea and sky meet, stood the sun, like a large shining altar, all melted together in the most glowing colors. And the wood and the sea sang a song of rejoicing, and his heart sang with the rest: all nature was a vast holy church, in which the trees and the buoyant clouds were the pillars, flowers and grass the velvet carpeting, and heaven itself the large cupola. The red colors above faded away as the sun vanished, but a million stars were lighted, a million lamps shone; and the King's Son spread out his arms towards heaven, and wood, and sea; when at the same moment, coming by a


Fairy Tales
The third excerpt represents the future or something you must embrace, and is drawn from Emma McChesney & Co. by Edna Ferber:

"Maybe I am short on Spanish, but I'm long on Featherlooms. I may not know a senora from a chili con carne, but I know Featherlooms from the waistband to the hem." She leaned forward, dimpling like fourteen instead of forty. "And you've noticed--haven't you, T. A.?--that I've got an expressive countenance."

Buck leaned forward, too. His smile was almost gone.

"I've noticed a lot of things, Emma McChesney. And if you persist in deviling me for one more minute, I'm going to mention a few."

Emma McChesney surveyed her cleared desk, locked the top drawer


Emma McChesney & Co.