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Matarese Circle

  by Robert Ludlum


(about 747 pages)
186,834
total words
of all the books in our library
38.69%
vividness
of all the books in our library
9.12%
passive voice
of all the books in our library
2.65%
all adverbs
of all the books in our library
1.01%
ly-adverbs
of all the books in our library
1.64%
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
chair. His reply was delivered in a quiet monotone. To the best of my knowledge, Mr. Winthrop, that solution has been exaggerated far out of proportion to its practice. Again, I’ll be completely honest with you. In fifteen years I’ve heard of it being exercised only twice, and in both… incidents… the agents out of sanction were beyond salvage. They had sold out to the Soviets; they were delivering names. Is Scofield ‘beyond salvage? That’s the correct phrase, isn’t it? If you mean do I think he’s sold out, of course not. It’s the last thing he’d do. I really came here to learn more about him, I’m sincere about that. How is he going to react when I tell him he’s terminated? Winthrop paused, his relief conveyed, then frowned again. I don’t know because I don’t know the current Scofield. It’s drastic; what’s he going to do? Isn’t there a halfway measure? If I thought there was one acceptable to us both, I’d leap at it. If I were you I’d try to find one. It can’t be on the premises,“ said Congdon firmly. I’m convinced of that. Then may I suggest somethingT’ “Please do.” “Send him as far away as you can. Someplace where he’ll find a peaceful oblivion. Suggest it yourself; he’ll understand.” “He will?” “Yes. Bray doesn’t fool himself, at least he never did. It was one of his finer gifts. He’ll understand because I think I do. I think you’ve described a dying man.” “There’s king-sized bed, tiny spotlights shooting down from the mirrored ceiling of blue glass. Aromatic layers of hashish smoke were suspended in the still air of the dark room; three glasses of clear absinthe stood on the bedside table. The general’s body was covered with streaks and circles of waterpaint, fingermarks everywhere, phallic arrows pointing to his groin, his testicles and erect penis coated in red, his breasts black, matching the matted hair of his chest, the nipples blue and joined by a straight fingerline of flesh- white. He moaned and whipped his head back and forth in sexual oblivion as his companions did their work. The two naked women alternately massaged and spread thick globules of paint on his writhing body. As one revolved her breasts about his moaning, moving face, the other cupped his genitalia, groaning sensually with each stroke, uttering false, muted screams of climax as the general approached orgasm-halted by the professional who knew her business. The auburn-haired girl by his face kept whispering breathless, incomprehensible phrases in Greek. She removed herself briefly to reach for a glass on the table; she held Blackburn’s head and poured the thick liquid onto his lips. She smiled at her companion, who winked back, Blackburn’s red-coated organ in her hand. Then the Greek girl slid off the bed, gesturing toward the bathroom door. Her associate nodded, extending her left hand up toward the general’s head, inserting her fingers into his lips to cover for her companion’s brief indisposition. The auburn-haired

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 3736.68 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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