| The first excerpt represents the past or something you must release, and is drawn from Desert Gold by Zane Grey: the deep azure of sky, the feeling of boundless expanse all around
him--these meant high altitude. Southward the barren red simply
merged into distance. The field of craters rose in high, dark
wheels toward the dominating peaks. When Gale withdrew his gaze
from the magnitude of these spaces and heights the crater beneath
him seemed dwarfed. Yet while he gazed it spread and deepened
and multiplied its ragged lines. No, he could not grasp the meaning
of size or distance here. There was too much to stun the sight.
But the mood in which nature had created this convulsed world
of lava seized hold upon him.
Meanwhile the hours passed. As the sun climbed the clear, steely
Desert Gold |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Lost Princess of Oz by L. Frank Baum: the pin into the wall, and it will disappear."
The Frogman took off his handsome coat and carefully folded it and
laid it on the grass. Then he removed his hat and laid it together
with his gold-headed cane beside the coat. He then went back a way
and made three powerful leaps in rapid succession. The first two
leaps took him to the wall, and the third leap carried him well over
it, to the amazement of all. For a short time, he disappeared from
their view, but when he had obeyed the Wizard's injunction and had
thrust the pin into the wall, the huge barrier vanished and showed
them the form of the Frogman, who now went to where his coat lay and
put it on again.
The Lost Princess of Oz |
The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James: his prime need might have been met, his high curiosity crowned, his
unrest assuaged - it was amazing, but it was also exquisite and
rare, that insistence should have, at a touch, quite dropped from
him. Discretion - he jumped at that; and yet not, verily, at such
a pitch, because it saved his nerves or his skin, but because, much
more valuably, it saved the situation. When I say he "jumped" at
it I feel the consonance of this term with the fact that - at the
end indeed of I know not how long - he did move again, he crossed
straight to the door. He wouldn't touch it - it seemed now that he
might if he would: he would only just wait there a little, to
show, to prove, that he wouldn't. He had thus another station,
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