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How Rights Went Wrong

  by Jamal Greene

(about 335 pages)
total words
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passive voice
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all adverbs
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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 service. How could an analogous accommodation have worked in Masterpiece Cakeshop? A court could have imposed a duty on Phillips to provide a custom cake—or its equivalent—to Craig and Mullins. He could have fulfilled this duty by hiring a sous chef who was willing to service same-sex weddings. Alternatively, like my Istanbul café, he could have contracted with another cakeshop to prepare a cake whenever a same-sex couple made a request. Craig and Mullins would have gotten their cake, and Phillips wouldn’t have needed to bake it. This solution wouldn’t be perfect. A baker whose conscience doesn’t allow him to facilitate a same-sex wedding would still experience some coercion. And subcontracting a cake, even behind the scenes, would mean that same-sex couples would be receiving a different product from what other customers receive. The dignitary harm this substitution might confer may be more tolerable in relation to a cake than, say, a photographer. The degree of harm, like other facts, should matter to a court. A second possible resolution of some of the conflicts that have sprung up between religious freedom and LGBTQ rights would be to hive off wedding ceremonies from other activities. Weddings are inherently expressive in a way that eating in a restaurant, staying in a hotel, or getting one’s car fixed just isn’t. A food order, a hotel reservation, or auto body work is typically functional and doesn’t call for substantial creativity or art from the service provider. Weddings are different, which is his tail off to get it. Holmes, the Boston Brahmin, became an early target. Frankfurter lived in a Dupont Circle boardinghouse with a dozen or so other young bachelors then working in the Taft administration. The roommates hosted dinners, cocktail parties, and salons, mixing drinks with verve and chatting up the D.C. intelligentsia, among whom Holmes was the ne plus ultra. Holmes was “the gay soldier who can talk of Falstaff and eternity in one breath, and tease the universe with a quip,” recalled journalist Walter Lippmann, a boarder with Frankfurter at what came to be known as the House of Truth. “A sage with the bearing of a cavalier… he wears wisdom like a gorgeous plume, and likes to tickle the sanctities between the ribs.” Frankfurter excelled in this environment. Standing just five feet, five inches tall but gifted with a quick wit and preternatural self-confidence, he could charm and dominate in equal measure. He would grab firm hold of his listener’s arm, squeezing tightly as he spoke to—or at—him. Kiss up and kick down, as they say. Eventually, Frankfurter became a frequent caller at Holmes’s Northwest D.C. home, and the two grew close. Frankfurter wrote a great many letters to Holmes over the years, always fawning, almost nauseatingly obsequious. Holmes was, for Frankfurter, “the King” before whom all others werecreeping worms,” as he wrote to Holmes in one missive. Though never waning in adulation, Frankfurter’s letters to Holmes grew more intimate in tone

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 1677.16 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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