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As I Lay Dying

  by William Faulkner

(about 228 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:

wont be sold because it belongs to Santa Claus and he taken it back with him until next Christmas. Then it will be behind the glass again, shining with waiting. Pa and Cash are coming down the hill, but Jewel is going to the barn. “Jewel,” pa says. Jewel does not stop. “Where you going?” pa says. But Jewel does not stop. “You leave that horse here,” pa says. Jewel stops and looks at pa. Jewel’s eyes look like marbles. “You leave that horse here,” pa says. “We’ll all go in. the wagon with ma, like she wanted.” But my mother is a fish. Vernon seen it. He was there. “Jewel’s mother is a horse,” Darl said. “Then mine can be a fish, cant it, Darl?” I said. Jewel is my brother. “Then mine will have to be a horse, too,” I said. “Why?” Darl said. “If pa is your pa, why does your ma have to be a horse just because Jewel’s is?” “Why does it?” I said. “Why does it, Darl?” Darl is my brother. “Then what is your ma, Darl?” I said. “I haven’t got ere one,” Darl said. “Because if I had one, it is was. And if it is was, it cant be is. Can it?” “No,” I said. “Then I am not,” Darl said. “Am I?” “No,” I said. I am. Darl is my brother. “But you are, Darl,” I said. “I know it,” Darl said. “That’s why I am not is. Are is of rotten bones that Addie Bundren left, jarring the whole bed into a chattering sibilance of mattress shucks, her arms outflung and the fan in one hand still beating with expiring breath into the quilt. From behind pa’s leg Vardaman peers, his mouth full open and all color draining from his face into his mouth, as though he has by some means fleshed his own teeth in himself, sucking. He begins to move slowly backward from the bed, his eyes round, his pale face fading into the dusk like a piece of paper pasted on a failing wall, and so out of the door. Pa leans above the bed in the twilight, his humped silhouette partaking of that owl-like quality of awry-feathered, disgruntled outrage within which lurks a wisdom too profound or too inert for even thought. “Durn them boys,” he says. Jewel, I say. Overhead the day drives level and gray, hiding the sun by a flight of gray spears. In the rain the mules smoke a little, splashed yellow with mud, the off one clinging in sliding lunges to the side of the road above the ditch. The tilted lumber gleams dull yellow, water-soaked and heavy as lead, tilted at a steep angle into the ditch above the broken wheel; about the shattered spokes and about Jewel’s, ankles a runnel of yellow neither water nor earth swirls, curving with the yellow road neither of earth nor water, down the hill dissolving into a streaming mass of dark green

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 1,138 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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