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Today's Stichomancy for Kylie Minogue

The first excerpt represents the past or something you must release, and is drawn from Sons and Lovers by D. H. Lawrence:

preparing dinner. She looked so perfectly in keeping with the little kitchen, ruddy and busy. He kissed her and sat down to watch. The room was small and cosy. The sofa was covered all over with a sort of linen in squares of red and pale blue, old, much washed, but pretty. There was a stuffed owl in a case over a corner cupboard. The sunlight came through the leaves of the scented geraniums in the window. She was cooking a chicken in his honour. It was their cottage for the day, and they were man and wife. He beat the eggs for her and peeled the potatoes. He thought she gave a feeling of home almost like his mother; and no one could look more beautiful, with her tumbled curls, when she was flushed


Sons and Lovers
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Child of Storm by H. Rider Haggard:

would steal its young."

"I am glad to see that you are no boaster, Saduko," said Panda. "Would that more of the Zulus were like you in that matter, for then I must not listen to so many loud songs about little things. At least, Bangu was killed and his proud tribe humbled, and, for reasons of state, I am glad that this happened without my moving a regiment or being mixed up with the business, for I tell you that there are some of my family who loved Bangu. But I--I loved your father, Matiwane, whom Bangu butchered, for we were brought up together as boys--yes, and served together in the same regiment, the Amawombe, when the Wild One, my brother, ruled" (he meant Chaka, for among the Zulus the names of dead kings are


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

Sophy Viner appeared almost immediately, dressed for departure, her little bag on her arm. She was still pale to the point of haggardness, but with a light upon her that struck Anna with surprise. Or was it, perhaps, that she was looking at the girl with new eyes: seeing her, for the first time, not as Effie's governess, not as Owen's bride, but as the embodiment of that unknown peril lurking in the background of every woman's thoughts about her lover? Anna, at any rate, with a sudden sense of estrangement, noted in her graces and snares never before perceived. It was only the flash of a primitive instinct, but it lasted long enough