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The Coddling of the American Mind

  by Greg Lukianoff

(about 319 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:

with countries in which rape is endemic and tolerated. For example, in parts of Afghanistan, “women are married against their will, they are murdered for men’s honor, they are raped. And when they are raped they are arrested for it, and they are shunned by their family afterward,” she says. “Now that’s a rape culture.” McElroy has firsthand experience of sexual violence: she told the audience at Brown that she was brutally raped as a teenager, and as an adult she was so badly beaten by a boyfriend that it left her blind in one eye. She believes it is untrue and unhelpful to tell American women that they live in a rape culture. But what if some Brown students believe that America is a rape culture? Should McElroy be allowed to challenge their belief, or would that challenge put them in danger? A Brown student explained to Shulevitz: “Bringing in a speaker like that could serve to invalidate people’s experiences.” It could bedamaging,” she said. The logic seems to be that some Brown students believe that America is a rape culture, and for some of them, this belief is based in part on their own lived experience of sexual assault. If, during the debate, McElroy were to tell them that America is not a rape culture, she could be taken to be saying that their personal experiences areinvalid” as grounds for the assertion that America is a rape culture. That could be painful to hear, but should in Color.” The title refers to the little-known fact that ancient Greek and Roman statues were usually painted with skin tones and bright colors, but when these buried and weathered statues were rediscovered during the Renaissance, the paint had worn off. Renaissance artists and their patrons believed that the unadorned white marble was part of the intended aesthetic, and these artists created new statues (such as Michelangelo’s David) using what they mistakenly believed was the Greco-Roman ideal. As a result, the white marble statues of the Renaissance have shaped our current image of what the ancient world must have looked like: white marble statues everywhere. According to Bond, the erroneous idea that the Romans viewed white marble as depicting the idealized human form led to the idea among scholars in the nineteenth century that Romans werewhite” (although there was no concept of a “whiterace in ancient times). Bond wrote in her essay that the misunderstanding about white statues “provides further ammunition for white supremacists today, including groups like Identity Evropa, who use classical statuary as a symbol of white male superiority.” This strikes us as a novel and interesting idea, which Bond illustrates with compelling photographs and links to academic articles. Regardless of her thoughtful and academic presentation, the outrage machine went into action. UNIVERSITY PROF: USING WHITE MARBLE IN SCULPTURES IS RACIST AND CREATES “WHITE SUPREMACY,” read one headline. IOWA UNIVERSITY PROFESSOR SAYS “WHITE MARBLEACTUALLY INFLUENCES “WHITE SUPREMACIST” IDEAS, read another. On Twitter, Bond was called

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 1594.02 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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