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The Georges and the Jewels

  by Jane Smiley

(about 244 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:

desk, and then he said, “Well, Abby, I’m very disappointed in you.” I didn’t say anything. “What do you have to say about this?” I didn’t say anything, then I said, “I don’t know.” “Since I wasn’t there this morning, I have to ask you, Abby, whether this necklace was found in your locker?” I nodded. “How did it get there?” “I don’t know.” He shook his head. He said, “I am going to ask you again, Abby, how did the necklace get into your locked locker?” “I don’t know.” “Does someone else know the combination to your lock?” “I don’t know. I don’t think so.” “Well, that leaves you up a crick, doesn’t it?” “Yes, sir.” “I’m going to ask you again how the necklace got into your locker.” “I don’t know, Mr. Canning. I didn’t even go to the potluck.” “Well, Abby, we do know that the necklace was lost at the potluck, but we don’t know that it was found at the potluck.” I said, “Yes, sir.” “I have called your mother.” I didn’t say anything. “I’m sorry you’ve decided to be obdurate on this, even if you are protecting someone else. But it is a valuable necklace, and everyone in school was warned about keeping it quiet and everyone was asked to come forward, so everyone has had a chance to be honest.” I stood there. “Do you understand what I mean?” “Yes, sir.” What was I thinking through all this? I don’t know. I was us for a drive.” THERE WAS NO RIDING, THANK YOU, LORD, ON SUNDAY, AND MY favorite cook, Miss Larrabee, brought supper to church. We had chicken with dumplings, homemade bread, and because she and her brother were avid gardeners plenty of homegrown asparagus with a sauce made from their homegrown lemons. The Larrabees swore by rotted horse manure as a fertilizer, so they came by our place several times a year and carted off part of the manure pile. Over supper, they said that their straw berries looked better this year than they ever had, and everybody at the table kind of sighed at the thought of the strawberry shortcake to come. There were two different theories about shortcake in our church—Mom and Daddy and some of the others preferred something like a sweetened biscuit, crumbly and crisp on the bottom, split and filled with strawberries and whipped cream. Miss Larrabee and her brother and some of their side preferred a dense, sweet pound cake shaped like a crown, with the center of the crown filled with berries and topped with ice cream. All of the kids liked both kinds equally, and we looked forward to the first strawberries of the year, which made a sort of celebration of our church. I won’t say that Daddy and all of the others agreed about everything they thought and talked about, but I will say they never argued about the strawberries. Eating the chicken and dumplings and thinking about the strawberry

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 1219.10 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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