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Today's Stichomancy for Tom Hanks

The first excerpt represents the past or something you must release, and is drawn from Padre Ignacio by Owen Wister:

mesclados enough? No, no!" finished young Gaston, hot with his unforeseen eloquence; "I should ride down some morning and take the barkentine."

Padre Ignacio was silent for a space.

"I have not offended you?" asked the young man.

"No. Anything but that. You are surprised that I should--choose--to stay here. Perhaps you may have wondered how I came to be here at all?"

"I had not intended any impertinent--"

"Oh no. Put such an idea out of your head, my son. You may remember that I was going to make you a confession about my operas. Let us sit down in this shade."

So they picketed the mules near the stream and sat down.

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Art of War by Sun Tzu:

production of a military man living towards the end of the "CH`UN CH`IU" period, are we not bound, in spite of the silence of the TSO CHUAN, to accept Ssu-ma Ch`ien's account in its entirety? In view of his high repute as a sober historian, must we not hesitate to assume that the records he drew upon for Sun Wu's biography were false and untrustworthy? The answer, I fear, must be in the negative. There is still one grave, if not fatal, objection to the chronology involved in the story as told in the SHIH CHI, which, so far as I am aware, nobody has yet pointed out. There are two passages in Sun Tzu in which he alludes to contemporary affairs. The first in in VI. ss. 21: --


The Art of War
The third excerpt represents the future or something you must embrace, and is drawn from The Street of Seven Stars by Mary Roberts Rinehart:

wheels of courtesans--Harmony had ventured alone for the second time.

And this time there was no Peter Byrne to accost her cheerily in the twilight and win her by sheer friendliness. She was alone. Her funds were lower, much lower. And something else had gone--her faith. Mrs. Boyer had seen to that. In the autumn Harmony had faced the city clear-eyed and unafraid; now she feared it, met it with averted eyes, alas! understood it.

It was not the Harmony who had bade a brave farewell to Scatchy and the Big Soprano in the station who fled to her refuge on the upper floor of the house in the Wollbadgasse. This was a hunted