from Two Girls, Fat and Thin by Mary Gaitskill:
I entered the strange world of Justine Shade via a message on the bulletin board in a laundromat filled with bitterness and the hot breath of dryers. "Writer interested in talking to followers of Anna Granite. Please call--" it was written in rigorous, precise, feminine print on a modest card displayed amidst dozens of cards, garish Xeroxed sheets, newsprint, and ragged tongues of paper. The owners of this laundry establishment seem to have an especially lax policy when it comes to the bulletin board, and upon it any nut can advertise himself, express an inane opinion, or announce a slogan amid a blathering crowd of ads for Gorill-O-Grams, lost cats, plaintive George (wearing a tiny amethyst earring, gray leather boots) searching for "provocative boy in tight silver pants who asked tall black man for fabric softener," Micro-Cosmic Orbit Meditation Lessons, Yes Sir!: The All-Boy Maid Service, and Spiritual Karate for Women. That day there was even an especially sinister card bearing an invitation to submit to tests that would determine whether or not your suicidal depression could be alleviated by "the latest medication" or hypnotic technique-an invitation evoking images of bulimic girls held prisoner in somebody‘s basement, drug-addicted prostitutes confessing to severe men in white coats, electrodes wired to the naked bodies of frightened volunteers...
| the | 8 | x | +17 | = | 136 |
| a | 6 | x | +6 | = | 36 |
| some | 0 | x | +6 | = | 0 |
| numbers | 0 | x | +5 | = | 0 |
| it | 3 | x | +2 | = | 6 |
| with | 1 | x | -14 | = | -14 |
| 's possessives | 1 | x | -5 | = | -5 |
| personal pronouns | 0 | x | -3 | = | 0 |
| for | 4 | x | -4 | = | -16 |
| not or n't | 1 | x | -4 | = | -4 |
from The Dive from Clausen's Pier by Ann Packer:
Mike always teased me about my memory, about how I could go back years and years to what people were wearing on a given occasion, right down to their jewelry or shoes. He’d laugh and ask what the weather had been, or who’d had a light beer and who a regular one, and I could almost always tell him. That was how I resurrected the past: people in their outfits, or who sat next to whom, and from there on to what we talked about, what we were like at a certain time.
Every Memorial Day we spent the afternoon at Clausen‘s Reservoir, about sixty miles north of Madison. it was only a mile or so across, but it was ringed by tall old maples, and it was far enough away so that going there seemed like an event. Mike came for me at a little after noon that year, the year everything changed, and once we’d loaded my stuff into his car and gotten onto the interstate, he accelerated to seventy-two, his opinion of the perfect speed if you factored in gas mileage, highway patrol risk, and safety. My mind was on the long untangling I felt was coming our way, and I stared out the window at dairy farm after dairy farm, their big, well-kept barns angled toward the highway. "Think it’ll be hot?" he said after a while, and I didn’t...
| the | 9 | x | +17 | = | 153 |
| a | 7 | x | +6 | = | 42 |
| some | 0 | x | +6 | = | 0 |
| numbers | 3 | x | +5 | = | 15 |
| it | 3 | x | +2 | = | 6 |
| with | 0 | x | -14 | = | 0 |
| 's possessives | 1 | x | -5 | = | -5 |
| personal pronouns | 2 | x | -3 | = | -6 |
| for | 1 | x | -4 | = | -4 |
| not or n't | 1 | x | -4 | = | -4 |
from A Home at the End of the World by Michael Cunningham:
Once our father bought a convertible. Don’t ask me. I was five. He bought it and drove it home as casually as he’d bring a gallon of rocky road. Picture our mother‘s surprise. She kept rubber bands on the doorknobs. She washed old plastic bags and hung them on the line to dry, a string of thrifty tame jellyfish floating in the sun. Imagine her scrubbing the cheese smell out of a plastic bag on its third or fourth go-round when our father pulls up in a Chevy convertible, used but nevertheless--a moving metal landscape, chrome bumpers and what looks like acres of molded silver car-flesh. He saw it parked downtown with a For Sale sign and decided to be the kind of man who buys a car on a whim. We can see as he pulls up that the maniac joy has started to fade for him. The car is already an embarrassment. He cruises into the driveway with a frozen smile that matches the Chevy‘s grille.
Of course the car has to go. Our mother never sets foot. My older brother Carlton and I get taken for one drive. Carlton is ecstatic. I am skeptical. If our father would buy a car on a street corner, what else might he do? Who does this make him?
He takes us to the country. Roadside stands overflow with apples. Pumpkins shed their light on farmhouse lawns. Carlton, wild with excitement, stands up on the front seat and has to be pulled back down. Our father grabs Carlton‘s beaded cowboy...
| the | 12 | x | +17 | = | 204 |
| a | 12 | x | +6 | = | 72 |
| some | 0 | x | +6 | = | 0 |
| numbers | 2 | x | +5 | = | 10 |
| it | 3 | x | +2 | = | 6 |
| with | 4 | x | -14 | = | -56 |
| 's possessives | 3 | x | -5 | = | -15 |
| personal pronouns | 1 | x | -3 | = | -3 |
| for | 3 | x | -4 | = | -12 |
| not or n't | 1 | x | -4 | = | -4 |
from Atonement by Ian McEwan:
The play--for which Briony had designed the posters, programs and tickets, constructed the sales booth out of a folding screen tipped on its side, and lined the collection box in red crepe paper--was written by her in a two-day tempest of composition, causing her to miss a breakfast and a lunch. When the preparations were complete, she had nothing to do but contemplate her finished draft and wait for the appearance of her cousins from the distant north. There would be time for only one day of rehearsal before her brother arrived. At some moments chilling, at others desperately sad, the play told a tale of the heart whose message, conveyed in a rhyming prologue, was that love which did not build a foundation on good sense was doomed. the reckless passion of the heroine, Arabella, for a wicked foreign count is punished by ill fortune when she contracts cholera during an impetuous dash toward a seaside town with her intended. Deserted by him and nearly everybody else, bed-bound in a garret, she discovers in herself a sense of humor. Fortune presents her a second chance in the form of an impoverished doctor--in fact, a prince in disguise who has elected to work among the needy. Healed by him, Arabella chooses judiciously this time, and is rewarded by...
| the | 13 | x | +17 | = | 221 |
| a | 13 | x | +6 | = | 78 |
| some | 1 | x | +6 | = | 6 |
| numbers | 2 | x | +5 | = | 10 |
| it | 0 | x | +2 | = | 0 |
| with | 1 | x | -14 | = | -14 |
| 's possessives | 0 | x | -5 | = | 0 |
| personal pronouns | 1 | x | -3 | = | -3 |
| for | 4 | x | -4 | = | -16 |
| not or n't | 1 | x | -4 | = | -4 |
from The Mill on the Floss by George Eliot (Mary Ann Evans Cross):
A wide plain, where the broadening Floss hurries on between its green banks to the sea, and the loving tide, rushing to meet it, checks its passage with an impetuous embrace. On this mighty tide the black ships--laden with the fresh-scented fir-planks, with rounded sacks of oil-bearing seed, or with the dark glitter of coal--are borne along to the town of St. Ogg‘s, which shows its aged, fluted red roofs and the broad gables of its wharves between the low wooded hill and the river brink, tinging the water with a soft purple hue under the transient glance of this February sun. Far away on each hand stretch the rich pastures and the patches of dark earth made ready for the seed of broad-leaved green crops or touched already with the tint of the tender-bladed autumn-sown corn. There is a remnant still of the last year‘s golden clusters of beehive ricks rising at intervals beyond the hedgerows; and everywhere the hedgerows are studded with trees: the distant ships seem to be lifting their masts and stretching their red-brown sails close among the branches of the spreading ash. Just by the red-roofed town the tributary Ripple flows with a lively current into the Floss. How lovely the little river is, with its dark, changing wavelets! It seems to me like a living companion while I wander along the bank and listen to its low, placid voice, as to the voice of one who is deaf and...
| the | 29 | x | +17 | = | 493 |
| a | 5 | x | +6 | = | 30 |
| some | 0 | x | +6 | = | 0 |
| numbers | 1 | x | +5 | = | 5 |
| it | 2 | x | +2 | = | 4 |
| with | 9 | x | -14 | = | -126 |
| 's possessives | 2 | x | -5 | = | -10 |
| personal pronouns | 6 | x | -3 | = | -18 |
| for | 1 | x | -4 | = | -4 |
| not or n't | 0 | x | -4 | = | 0 |
from The Great Gatsby by F. Scott Fitzgerald:
In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.
"Whenever you feel like criticizing anyone," he told me, "just remember that all the people in this world haven’t had the advantages that you’ve had."
He didn’t say any more but we’ve always been unusually communicative in a reserved way and I understood that he meant a great deal more than that. In consequence I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought--frequently I have feigned sleep, preoccupation or a hostile levity when I realized by some unmistakable sign that an...
| the | 6 | x | +17 | = | 102 |
| a | 7 | x | +6 | = | 42 |
| some | 2 | x | +6 | = | 12 |
| numbers | 0 | x | +5 | = | 0 |
| it | 2 | x | +2 | = | 4 |
| with | 0 | x | -14 | = | 0 |
| 's possessives | 0 | x | -5 | = | 0 |
| personal pronouns | 0 | x | -3 | = | 0 |
| for | 0 | x | -4 | = | 0 |
| not or n't | 3 | x | -4 | = | -12 |
from Mrs. Dalloway by Virginia Woolf:
Mrs. Dalloway said she would buy the flowers herself.
For Lucy had her work cut out for her. the doors would be taken off their hinges; Rumpelmayer‘s men were coming. And then, thought Clarissa Dalloway, what a morning--fresh as if issued to children on a beach.
What a lark! What a plague! for so it had always seemed to her, when, with a little squeak of the hinges, which she could hear now, she had burst open the French windows and plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was in the early morning; like the flap of a wave; the kiss of a wave; chill and sharp and yet (for a girl of eighteen as she then was) solemn, feeling as she did, standing there at the open window, that something awful was about to happen; looking at the flowers, at the trees with the smoke winding off them and the rooks rising, falling; standing and looking until Peter Walsh said, "Musing among the vegetables?"--was that it?--"I prefer men to cauliflowers"--was that it? He must have said it at breakfast one morning when she...
| the | 15 | x | +17 | = | 255 |
| a | 8 | x | +6 | = | 48 |
| some | 0 | x | +6 | = | 0 |
| numbers | 2 | x | +10 | = | 5 |
| it | 4 | x | +2 | = | 8 |
| with | 2 | x | -14 | = | -28 |
| 's possessives | 1 | x | -5 | = | -5 |
| personal pronouns | 0 | x | -3 | = | 0 |
| for | 4 | x | -4 | = | -16 |
| not or n't | 0 | x | -4 | = | 0 |
from Oxygen by Andrew Miller:
Inside the house his father‘s clocks were striking the hour. Faintly, the chimes carried to where he stood in the garden, a lank young man in a summer sweater and the shapeless blue trousers, wiping the lenses of his glasses with the corner of a crumpled handkerchief. He had spent the last hour with the hose watering the flower-beds and giving the ground around the younger trees a good soaking, as he had been instructed to. Now, having carefully coiled the hose, he made his way back towards the house, his progress shadowed by a cat that pushed through the stems of delphiniums and peonies and oriental poppies. At the top of the house, the light in Alice‘s room shone dully from between half-open curtains.
It was the dusk of his third day back at Brooklands, the house in the West Country with its grey stone walls, brown-tiled roof and rotting summerhouse, where he had spent the first eighteen years of his life. His own small flat in London was shut an locked, and his neighbour, Mr Bequa, whose clothes carried their own atmosphere of black tobacco and failed cooking, had agreed to forward the mail, though there would not be much. Bequa had even come down into the street to wave him off, and knowing where he was going and why, had done so with gestures of extravagant melancholy, - ‘Goodbye, Alec friend! Good heart! Goodbye!’
Wandsworth Bridge, Parsons Green, Hammersmith. Then...
| the | 24 | x | +17 | = | 408 |
| a | 5 | x | +6 | = | 30 |
| some | 0 | x | +6 | = | 0 |
| numbers | 1 | x | +5 | = | 5 |
| it | 1 | x | +2 | = | 2 |
| with | 4 | x | -14 | = | -56 |
| 's possessives | 2 | x | -5 | = | -10 |
| personal pronouns | 9 | x | -3 | = | -27 |
| for | 0 | x | -4 | = | 0 |
| not or n't | 1 | x | -4 | = | -4 |
from Good in Bed by Jennifer Weiner:
"Have you seen it?" asked Samantha.
I leaned close to my computer so my editor wouldn’t hear me on a personal call.
"Seen what?"
"Oh, nothing. Never mind. We’ll talk when you get home."
"Seen what?" I asked again.
"Nothing," Samantha repeated.
"Samantha, you have never once called me in the middle of the day about nothing. Now come on. Spill."
Samantha sighed. "Okay, but remember: Don’t shoot the messenger."
Now I was getting worried.
"Moxie. The new issue. Cannie, you have to go get one right now."
"Why? What‘s up? Am I one of the Fashion Faux Pas?"
"Just go to the lobby and get it. I’ll hold."
This was important. Samantha was, in addition to being my best friend, also an associate at Lewis, Dommel, and Fenick. Samantha put people on hold, or had her assistant tell them she was in a meeting. Samantha herself did not hold. "It‘s a sign of weakness," she’d told me. I felt a small twinge of anxiety work its way down my spine.
| the | 6 | x | +17 | = | 102 |
| a | 4 | x | +6 | = | 24 |
| some | 0 | x | +6 | = | 0 |
| numbers | 2 | x | +5 | = | 10 |
| it | 3 | x | +2 | = | 6 |
| with | 0 | x | -14 | = | 0 |
| 's possessives | 2 | x | -5 | = | -10 |
| personal pronouns | 1 | x | -3 | = | -3 |
| for | 0 | x | -4 | = | 0 |
| not or n't | 3 | x | -4 | = | -12 |
from The Diamond Age by Neal Stephenson:
The bells of St. Mark‘s were ringing changes up on the mountain when Bud skated over to the mod parlor to upgrade his skull gun. Bud had a nice new pair of blades with a top speed of anywhere from a hundred to a hundred and fifty kilometers, depending on how fat you were and whether or not you wore aero. Bud liked wearing skin-tight leather, to show off his muscles. On a previous visit to the mod parlor, two years ago, he had paid to have a bunch of ‘sites implanted in his muscles--little critters, too small to see or feel, that twitched Bud‘s muscle fibers electrically according to a program that was supposed in his forearm, it was like working out in a gym night and day, except you didn’t have to actually do anything and you never got sweaty. The only drawback was that all the little twitches made him kind of tense and jerky. He’d gotten used to it, but it still made him a little hinky on those skates, especially when he was doing a hundred clicks an hour through a crowded street. But few people hassled Bud, even when he knocked them down in the street, and after today no one would hassle him ever again.
Bud had walked away, improbably unscratched, from his last job--decoy--with something like a thousand yuks in his pocket. He’d spent a third of it on new clothes, mostly black leather, another third of it on the blades, and was about to spend the last third at the mod parlor. You could get skull guns a lot cheaper, of course, but that would mean going over the Causeway to Shanghai and getting a back-alley job from some Coaster, and probably a nice bone infection in with the bargain, and he’d probably pick your pocket while he had you theezed. Besides, you could only get into a Shanghai if you were virgin. To cross the Causeway when you were already packing a skull gun, like Bud, you had to bribe the shit...
| the | 14 | x | +17 | = | 238 |
| a | 18 | x | +6 | = | 108 |
| some | 1 | x | +6 | = | 6 |
| numbers | 6 | x | +5 | = | 30 |
| it | 5 | x | +2 | = | 10 |
| with | 3 | x | -14 | = | -42 |
| 's possessives | 2 | x | -5 | = | -10 |
| personal pronouns | 6 | x | -3 | = | -18 |
| for | 0 | x | -4 | = | 0 |
| not or n't | 2 | x | -4 | = | -8 |