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The Other Woman

  by Daniel Silva

(about 409 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:

October 1984. Even Gabriel could see the resemblance—to Philby, unquestionably, but to Charlotte Bettencourt as well. “You took the photograph and then walked away?” he asked. “You didn’t speak?” “What would I have said?” “You could have begged for forgiveness. You could have put a stop to it.” “Why would I have done a thing like that, after everything I’d sacrificed? Remember, the Cold War was at a low point. Reagan the cowboy was in the White House. The Americans were pouring nuclear missiles into Western Europe.” “And for this,” said Gabriel coldly, “you were prepared to give up your daughter?” “She wasn’t mine alone, she was Kim’s, too. I was only a salon militant, but not her. She was the genuine article. She had betrayal in the blood.” “So do you, Madame Bettencourt.” “Everything I did,” she said, “I did as a matter of conscience.” “You obviously don’t have one. And neither did Philby.” “Kim,” she said. “He’ll always be Kim to me.” She was staring at the photograph. Not in anguish, thought Gabriel, but with pride. “Why?” he asked. “Why did you do it?” “Is there an answer I could give that you would find satisfactory?” “No.” “Then perhaps, Monsieur Allon, we should leave it to the past.” “Yes,” said Gabriel. “Perhaps we should.” Down by the River Seville—London There were several flights between Seville and London the next morning, but Gabriel and Christopher Keller drove to Lisbon instead, on the assumption that Moscow Center was stockpot of water bubbling on the stovetop and Chiara working a lump of Parmigiano-Reggiano cheese over the surface of a grater. She did so deftly and seemingly without effort, the way she did most things, including caring for the children. When she had produced the allotted amount, she traded the lump of Parmigiano-Reggiano for Pecorino and grated that, too. Gabriel quickly surveyed the other ingredients arrayed on the counter. Butter, olive oil, a tall pepper grinder: the makings of cacio e pepe. The simple Roman pasta dish was one of his favorites, especially the way Chiara prepared it. “You know,” he said, watching her work, “there’s a very nice man in the Mahane Yehuda Market who will do that for you.” “Or maybe I should just buy it in a jar at the supermarket.” She shook her head reproachfully. “The cheese has to be grated to the proper consistency. Otherwise, the results will be disastrous.” He frowned at the small television at the end of the counter. “Just like Vienna.” Chiara plucked a strand of spaghetti from the pot and after testing it poured the rest through a colander. Next she tossed it with melted butter, olive oil, the grated cheeses, and a few ounces of pasta water, and seasoned the dish with enough pepper to give it a bit of bite. They ate together at the little café table in the kitchen, the baby monitor between them, the television playing silently. Gabriel declined Chiara’s offer of Tuscan red wine

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 2045.40 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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