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Other Colors

  by Orhan Pamuk

(about 614 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:

stays in our minds, he will take out this drawing you are looking at right now and show it to us. We will not be the first drawing he shows, nor will we be the last. All the drawings he shows will illustrate our story. But after centuries of wandering, defeat, and disaster, our stories are lost. The drawings that once illustrated these stories have been scattered across the world. Now even we have forgotten where we are from. We have been stripped of our stories and our identities. But it was still a lovely thing to have been drawn. Once upon a time there was a storyteller who looked at us and—perhaps because he shared our unease—began his story like this: “We are troubled by the abundance of rumors about where we come from, who we are, where we’re going, and who drew us.” Meaning Hi! Thank you for reading me. I should be happy to be here, though I can’t help feeling confused. I like the way your eyes are traveling over me. Because I’m here to serve you. Even though I’m not sure what that means. I don’t even know what I am these days—isn’t that a pity? I’m a concoction of signs; I long to be seen, but then I lose my nerve. Would I be better off hiding myself away in the shadows, far away, protected from all eyes? That’s what I can’t decide. I’m making such a big effort to be she had declared the minced meat in these hamburgers to be from “unknown parts of unknown animals” and forbade our eating not just hamburgers but frankfurters, salami, and garlic sausages, because it was hard to know the provenance of their meat also. Occasionally we would read in the papers that an illegal garlic-sausage factory had been raided and that they had found the sausages to contain horse or even donkey meat. Let me not confess that the tastiest sandwiches of my life were the ones I bought from the vendors who served up bread stuffed with meatballs and garlic sausages outside the sports halls and stadiums where I went to watch football matches and basketball games. My own interest in football had to do less with the fate of the ball or the team than with the crowd and the sense of occasion; while waiting in line for my ticket, the thick dark-blue smoke from the meatball vendors would seep into my nose, my hair, and my jacket until it was impossible to resist. After promising each other that we would not speak of it at home, my brother and I would each buy a sausage sandwich. The sausage would have been roasted over the coals until it was like leather and it would be stuffed into half a loaf of bread with a piece of onion. It went well with a glass of the yogurt drink, ayran. These sausages and hamburgers of uncertain origin were the stuff of nightmares

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 3069.68 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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other books by Orhan Pamuk

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