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The Audacity of Hope

  by Barack Obama

(about 473 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

the world. “That’s a complicated question,” Rubin said. “Most economists will tell you that there’s no inherent limit to the number of good new jobs that the U.S. economy can generate, because there’s no limit to human ingenuity. People invent new industries, new needs and wants. I think the economists are probably right. Historically, it’s been the case. Of course, there’s no guarantee that the pattern holds this time. With the pace of technological change, the size of the countries we’re competing against, and the cost differentials with those countries, we may see a different dynamic emerge. So I suppose it’s possible that even if we do everything right, we could still face some challenges.” I suggested that the folks in Galesburg might not find his answer reassuring. “I said it’s possible, not probable,” he said. “I tend to be cautiously optimistic that if we get our fiscal house in order and improve our educational system, their children will do just fine. Anyway, there’s one thing that I would tell the people in Galesburg is certain. Any efforts at protectionism will be counterproductive—and it will make their children worse off in the bargain.” I appreciated Rubin’s acknowledgment that American workers might have legitimate cause for concern when it came to globalization; in my experience, most labor leaders have thought deeply about the issue and can’t be dismissed as kneejerk protectionists. Still, it was hard to deny Rubin’s basic insight: We can try to slow globalization, but we can’t reminded me how to pack—just khakis and polo shirts, he said; no fancy linen trousers or silk shirts. I assured him that I didn’t own any linens or silks. On the drive down, we stopped at a TGI Friday’s and I ordered a cheeseburger. When the waitress brought the food I asked her if she had any Dijon mustard. Dan shook his head. “He doesn’t want Dijon,” he insisted, waving the waitress off. “Here”—he shoved a yellow bottle of French’s mustard in my direction—“here’s some mustard right here.” The waitress looked confused. “We got Dijon if you want it,” she said to me. I smiled. “That would be great, thanks.” As the waitress walked away, I leaned over to Dan and whispered that I didn’t think there were any photographers around. And so we traveled, stopping once a day to play a round of golf in the sweltering heat, driving past miles of cornfields and thick forests of ash trees and oak trees and shimmering lakes lined with stumps and reeds, through big towns like Carbondale and Mount Vernon, replete with strip malls and Wal-Marts, and tiny towns like Sparta and Pinckneyville, many of them with brick courthouses at the center of town, their main streets barely hanging on with every other store closed, the occasional roadside vendors selling fresh peaches or corn, or in the case of one couple I saw, “Good Deals on Guns and Swords.” We stopped in a coffee shop to eat pie

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 2366.42 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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