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Street Without Joy

  by Bernard B. Fall


(about 453 pages)
113,134
total words
of all the books in our library
39.35%
vividness
of all the books in our library
5.40%
passive voice
of all the books in our library
2.76%
all adverbs
of all the books in our library
1.22%
ly-adverbs
of all the books in our library
1.54%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
malaria and leech bites, but they were still a fighting unit. And they had carried with them all their wounded who had not been taken prisoner at Tu-Lê Pass. In the meantime, the battlefield around Tu-Lê was littered with more than a hundred French wounded. Father Jeandel had remained with them in the hope of being able to help them, but for most of them any help would have come too late. The Viet-Minh simply had done nothing for them. They had been merely assembled and laid side-by-side in the mud, their wounds exposed to the open air, their horrible mutilations left unattended. They were moaning softly, begging for water or an early death. One of the French officers who had been taken prisoner during the battle and who passed near the post several days later came away, ashen-faced, as if he had seen hell itself: “You know, this was worse than anything I’d ever seen. The whole place looked like something straight out of Dante’s Inferno or one of the drawings of Goya. The wounded were still lying there just like on the first day, intermingled with men who had died several days ago and who were beginning to rot. They were lying there unattended, in the tropical sun, being eaten alive by the rats and the vultures. If only they had all been dead! But imagine, there were still some of them who were able to moan.” Of the 110 lightly wounded or unwounded paratroopers who had been standing in the knee-deep mud of the rice paddies watching the black expanse ahead of them, where the slightest noise could be that of a frog jumping, or of a Communist infiltrator stumbling over a branch. There is nothing that sounds more like a patrol seeking its way forward in the mud than a stray buffalo plodding to its stable. The night of D-Day plus-one passed without major incident. Whatever shooting occurred was at fleeting shadows. Here and there, a French parachute flare lit up the pocket area in its ghostly greenish light before it fizzled into the wet underbrush, or the headlights of a French tank or amphibious vehicle probed the night to search out the sources of suspect noises. But nothing noteworthy was detected. When dawn broke, the men resumed their march forward, this time on all fronts at once. The countryside appeared completely in the morning sun. The farmers again did not come out of the villages to till their fields, the little Vietnamese boys who are always riding the lumbering buffaloes out to pasture were nowhere to be seen with their charges. Again, the only things that seemed to be moving in the countryside were the French tanks, the amphibious vehicles with their long aerials dipping in the breeze, and long lines of grimy, weary, mud-caked infantrymen now plodding through the fields in an almost unbroken line from horizon to horizon. By 1300, with the sun beating unmercifully on steel helmets and berets or campaign hats

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 2262.68 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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