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Purple Hearts

  by Michael Grant

(about 438 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:

blinks. “I’m sorry, did you just…” “I have seen many tank tread marks. Not far from here.” “Can you show us?” “Tomorrow, in the morning before school?” “Okay,” Rainy says, thinking, it can’t be this easy. Then again, this mission could hardly be described as easy so far. “Tomorrow, before school.” After Bernard leaves, Rainy warms canned soup for herself and Philippe. It is a glum meal, interrupted twice, once when they hear a dog barking, and a second time when they hear loud engines, which turn out to be Luftwaffe planes overhead. Rainy takes the sofashe’s smaller than Philippe—but has a hard time sleeping. It is the endless replays that keep her awake. Again and again she runs through the events at the café. What could she have done differently? What mistakes were made? Why had she not suspected earlier that Marie was a problem? Had she missed clues? Had it all been inevitable? Had there not been a way to avoid that small round hole? Philippe’s voice comes from the dark. “You should sleep.” “I know.” After a pause, he adds, “It was necessary. You did what was necessary.” “I know.” Another long pause, then, “You are a soldier, as I am.” “Soldiers do not kill unarmed girls in cold blood. I was an executioner.” He sighs. “Tomorrow you will be a soldier again. And someday when this is all over you will be a woman. You will be married and have children.” “And you’ll be varieties: Meat Stew with Beans, Meat with Vegetable Hash, and Meat Stew with Vegetables. She hates the newer meals: Meat and Spaghetti in Tomato Sauce, Chopped Ham, Egg, and Potato, Meat and Noodles, Pork and Rice, Frankfurters and Beans, Pork and Beans, and, above all, Ham and Lima Beans. The army has blessedly stopped sending the dreaded Meat Hash and the god-awful Mutton Stew with Vegetables meals. Unfortunately they have not sent Chicken and Vegetables, which Frangie is convinced will be bad, but will at least be a new kind of bad. This is the only joy in the Hürtgen Forest: daydreams of food. There are days when she is sure she would kill a German herself if she could just eat some of his rations. Everyone says the Krauts still get actual bread, bread that comes in loaves as opposed to the canned atrocity the US Army supplies. And God only knows what sins she might commit in exchange for a plate of catfish and fried okra, or even just good old red beans and rice with cornbread so hot from the oven that you couldn’t hold it. A fresh peach? Or a strawberry and rhubarb pie? Or a bowl of ice cream churned in the kitchen with fresh cream and ice and rock salt? Iced tea with a sprig of mint? Her aunt’s blackstrap pecan pie? Her other aunt’s Thanksgiving turkey? Don’t think about it. Tend to this poor man. How? He has a log in his belly

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 2191.90 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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