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The FBI, A History

  by Rhodri Jeffreys-Jones


(about 419 pages)
104,688
total words
of all the books in our library
18.91%
vividness
of all the books in our library
5.27%
passive voice
of all the books in our library
2.14%
all adverbs
of all the books in our library
0.86%
ly-adverbs
of all the books in our library
1.28%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
Division of the Department of Justice was reviewing around ninety files on the King murder; his department was looking into the allegations of corruption. While neither he nor the FBI director could be expected to know everything that was going on in an organization as large as the FBI, he was confident that it was not a “runaway agency.” To guard against any future abuses, he was working on a set of guidelines to steer the organization’s future conduct. A few months later, the press reported on the curbs to be imposed on the FBI. Inappropriate investigations of citizens with radical opinions would be eschewed. Instead, the targets would be gangsters, terrorists, and spies. Legislation would define the powers of the FBI, it would limit its investigations to advocates of violence, there would be closer oversight of its activities by the Justice Department and Congress; the collection of damaging information on individuals would be restricted; electronic surveillance would be more tightly regulated; the tenure of future directors would be limited to prevent a recurrence of the Almighty Hoover phenomenon. FBI reform was the major preoccupation of Levi’s Justice Department. To be sure, there were other concerns. The effort to integrate American high schools by busing students from one neighborhood to another had sparked a riot in Boston in December 1974, and Levi had to justify his apolitical, noninterventionist stance on the issue. As for the FBI, it had to be business as usual regardless of the political storm. There was break-in at the local prison. After a fierce fight, a crippled black boy was snatched from his cell, and a rope was put around his waist and a bag over his head. Thereupon he was taken outside and hanged. Bauer obtained evidence of the identity of the executioner, whose mask had slipped during the struggle. Whitley’s matter-of-fact tone pervaded the rest of his lengthy narrative. On 22 August 1871, he recorded, an illiterate nineteen-year-old, William Washington Wicker, put his mark on a statement sworn before a United States commissioner in North Carolina. Just before Christmas 1870, Wicker had gone out riding with the Klan. Near Jonesboro, they threatened Jessie McIver, a black man. Then they called on his white relatives. At Dan McIver’s place, the two daughters played the piano and danced with the men. The Klansmen went on to Wesley McIver’s, “showed ourselves,” and ate cake, then to Dan McIntire’s, again removing their disguises. The daughters of the McIntire house arose from bed and the Klan patrol enjoyed further piano music. In the spring of 1871, Wicker and his musical colleagues had visited Sallie Gilmer’s place. They lashed her. They also whipped Mary Godfrey and Stump Gilmer. In this raid, the Ku Kluxers opened fire on three black persons who ran from the house, killing one of them. Planning a further sortie, Wicker went to Mark McIver’s to collect disguises. J. G. Hester and other confederates accompanied him. Whitley quoted Wicker’s deposition on what happened next: “That same evening

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 2093.76 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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