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Today's Stichomancy for Eminem

The first excerpt represents the past or something you must release, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber:

steady oneself by, and because I needed them most just then, and because I longed with my whole soul to place both my weary hands in those strong capable ones and to bring those dear, cool, sane fingers up to my burning cheeks, I put one foot on the first stair and held out two chilly fingertips. "Good-night, Herr Doktor," I said, "and thank you, not only for myself, but for her. I have felt what she feels to-night. It is not a pleasant thing to be ashamed of one's husband."

Von Gerhard's two hands closed over that one of mine. "Dawn, you will let me help you to find comfortable

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Shadow Line by Joseph Conrad:

he was a priceless man altogether. Soul as firm as the muscles of his body.

He was the only man on board (except me, but I had to preserve my liberty of movement) who had a sufficiency of muscular strength to trust to. For a moment I thought I had better ask him to take the wheel. But the dreadful knowledge of the enemy he had to carry about him made me hesi- tate. In my ignorance of physiology it occurred to me that he might die suddenly, from excitement, at a critical moment.


The Shadow Line
The third excerpt represents the future or something you must embrace, and is drawn from Beyond Good and Evil by Friedrich Nietzsche:

case something which must be surmounted. The surmounting of morality, in a certain sense even the self-mounting of morality-- let that be the name for the long-secret labour which has been reserved for the most refined, the most upright, and also the most wicked consciences of today, as the living touchstones of the soul.

33. It cannot be helped: the sentiment of surrender, of sacrifice for one's neighbour, and all self-renunciation-morality, must be mercilessly called to account, and brought to judgment; just as the aesthetics of "disinterested contemplation," under which the emasculation of art nowadays seeks insidiously enough to create


Beyond Good and Evil