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The Old Enemy

  by Henry Porter

(about 514 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:

doctor who had taken over from Lazarus, Jamie Carrew, was on the other side. ‘What’s this mean?’ she asked Carrew. ‘We don’t know,’ he replied. ‘He’s made a really excellent recovery from the procedure, and his heart and breathing are much better. We’re not able to assess any neurological impairment because we can’t do that without Denis saying what he can and can’t do or feel.’ ‘Can he hear us? Can he understand?’ She looked down at him, appalled. ‘Can you hear me, Denis? Will you squeeze my hand, like you did the nurse’s, and tell me that you understand?’ There was no response. She peered into his eyes. He shut them then opened them again very slowly. ‘Are you trying to tell me something?’ She waited – nothing came back. ‘Is he locked in?’ Carrew said, ‘Possibly, but there’s nothing in the literature to suggest this is a result of being exposed to a nerve agent. Perhaps we should not have this conversation in front of him.’ ‘No, I think we should, because if he’s in there he’ll be working through this himself. He’ll want to know what we’re doing. He’s not a child. If it’s bad news, he’ll want to know. So I’m going to ask you – did he have a stroke during the operation?’ Carrew shook his head. ‘We checked. His brain is fine.’ ‘But it isn’t, is it? Is there some kind of stimulus you can give him?’ ‘Not without knowing what’s the matter.’ ‘Might he be you said, leave today. They are going to fucking well tie you up so you can’t move. Speak later. Live Frog It was a warm day in Washington. Across the capital, puffs of white and pink blossom were evidence of an accelerating American spring, the pace of which Anastasia had never quite got used to. The spring of her childhood in the Pindus Mountains in Greece crept slowly across the landscape with several distinct stages. Here, it came and went in one gaudy flash. She was packing, or rather sorting the clothes which had been sent from New York by FedEx, and, like Samson, she included one piece of formal wear in the bag. The rest were practical clothes she used for travel and her work – boots, jeans, sweaters, an olive-green thermal jacket and several versions of a white shirt that allowed the wearer to secure rolled sleeves with a tab. Denis commented that her style increasingly tended towards the military and said he wished she’d sometimes make a concession to femininity, which is why she had worn a plum-coloured shirt and a silver necklace with her suit to the hearing. It was not yet 7 a. m. For a moment, holding her coffee just below her lips, she watched the joggers in a park. Then Tulliver was beside her, now dressed in a navy jacket, dark grey trousers and button-down blue shirt and looking much more himself. ‘Congressman Speight is on his way up. You want me to sit

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 2568.42 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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