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The Bourne Supremacy

  by Robert Ludlum

(about 919 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:

history. I must have it. ‘ ‘A man will call Washington, and people there will make other calls. They know where she lives, her circumstances, and within minutes they’ll know her neighbours. Someone will tell us. We’ll find her doctor. ‘ ‘I want everything on a satellite computer print-out. We have the equipment. ‘ ‘Any transmission of information must be received at our offices. ‘ Then I’ll go with you. Give me a few minutes. ‘ ‘You’re frightened, aren’t you, Doctor?’ ‘If it’s a neurological disorder, that’s always frightening, Major. If your people can work quickly, perhaps I can talk to her doctor myself. That would be optimum. ‘ ‘You found nothing in your examination?’ ‘Only possibilities, nothing concrete. There is pain here, and there isn’t pain there. I’ve ordered a CAT scan in the morning. ‘ ‘You are frightened. ‘ ‘Shitless, Major. ‘ Oh, you’re all doing exactly what I wanted you to do. Good God, I’m hungry! I’ll eat for five straight hours when I get out of here - and I will get out! David, did you understand? Did you understand what I was telling you? The dark trees are maple trees; they’re so common, darling, so identifiable. The single leaf is Canada. The embassy! Here in Hong Kong it’s the consulate! That’s what we did in Paris, my darling! It was terrible then, but it won’t be terrible here. I’ll know someone. Back in Ottawa I instructed so many who were being posted all over the world. Your memory is clouded, my love, but mine isn’t then ladled out and placed on newspapers for immediate sale. The crowds move under the weak light of dull streetlamps from one vendor to the next, haggling in high-pitched voices, shrieking back and forth, buying and selling. Then there are the kerb people, bedraggled men and women without stalls or tables whose merchandise is spread out on the pavement. They squatted behind displays of trinkets and cheap jewellery, much of it stolen from the docks, and woven cages filled with crawling beetles and fluttering tiny birds. Near the mouth of the strange, foetid bazaar a lone, muscular female sat on a low wooden stool, her thick legs parted, skinning snakes and removing their entrails, her dark eyes seemingly obsessed with each thrashing serpent in her hands. On either side were writhing burlap bags, every now and then convulsing as the doomed reptiles struck out in hissing fury at one another, enraged by their captivity. Clamped under the heavy-set woman’s bare right foot was a king cobra, its jet black body immobile and erect, its head flat, its small eyes steady, hypnotized by the constantly moving crowds. The squalor of the open market was a fitting barricade for the wall-less Walled City beyond. Rounding the corner at the opposite end of the long bazaar, a dishevelled figure turned into the overflowing avenue. The man was dressed in a cheap, loose-fitting brown suit, the trousers too bulky, the coat too large, yet tight around the hunched shoulders. A soft wide-brimmed hat, black

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 4592.82 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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