Grace Abounding
The Core Knowledge Anthology of
African-American Literature, Music, and Art
Executive Editor
Robert D. Shepherd
Senior Editor
Michael L. Ford
Contributing Editors
Corey Carter
Amy S. Miller
Milton L. Welch
Core Knowledge Foundation
Charlottesville, VA
Grace Abounding
Consultants and Contributing Writers
Joel Baumgart
Ewa Beaujon
Mary Kathryn Hassett
Marilyn Shepherd
Gerald Terrell
Design and Typesetting
Kazuko Ashizawa
Kelley Anne Gable
Copyright © 2006 Core Knowledge Foundation
All Rights Reserved.
ISBN: 1-933486-02-3
First Edition.
1 2 3 4 5 6 7 8 9 10 10 09 08 07 06
Cover: “The Creation,” by Aaron Douglas, 1927.
Reproduced by permission of the Howard University Gallery of Art.
Trademarks and trade names are shown in this book strictly for
illustrative and educational purposes and are the property of their
respective owners. References herein should not be regarded
as affecting the validity of said trademarks and trade names.
No part of this work may be photocopied or recorded, added to an information
storage or retrieval system, posted to the Web, or otherwise reproduced or
transmitted in any form or by any means, electronic or mechanical, without prior
written permission of the Core Knowledge Foundation, unless said reproduction
or transmission is expressly permitted by federal copyright law. Inquiries regarding
permissions should be addressed to the Core Knowledge Foundation,
801 E. High Street, Charlottesville, VA 22902. 1-800-238-3233.
www.coreknowledge.org
Acknowledgements: “All Stories Are Anansi’s” from The Hat-Shaking
Dance and Other Ashanti Tales from Ghana by Harold Courlander with
Albert Kofi Prempeh. © 1957, 1985 by Harold Courlander. Reprinted by
permission of Michael Courlander and Erika Courlander. (Cont.
on page 838.)
To the children,
those of African descent and otherwise,
who will become tomorrow’s
Jacob Lawrences, Maya Angelous,
John Coltranes, and Kathryn Dunhams.
Watch out for them, world.
What you see in this book
is just the beginning.
iii
The Core Knowledge Foundation would like to thank the following individuals
and institutions for their contributions to this anthology:
Michael S. Harper
Rita Dove
Donna VanDerZee
E. D. Hirsch, Jr.
Karma Bambara
Schomburg Center for Research in Black Culture
Eileen Johnston of the Howard University Gallery of Art
University of North Carolina Library (Documenting the American South)
W. E. B. Du Bois Library, University of Massachusetts at Amherst
The National Archives
University of Virginia Library
Library of Congress Photo Duplications Department
Judy Ladendorf and Lynn Tews of the Permissions Group
Paul R. Jones Gallery
Mrs. Coni Porter Uzelac
Diana Brewster
Sam Sheng
Becky Ottenson
Matthew Davis
Diane Castro
J. Henry Baker
Mike Przyuski
Marilyn A. Shepherd
Erin Kist
Amy Tucker
Jackie Beilhart
iv
About Grace Abounding
G
race Abounding: The Core Knowledge Anthology
of African-American Literature, Art, and
Music presents a story that spans hundreds of
generations, crisscrossing continents and oceans, from
roots in ageless proverbial wisdom and ancient rhythms
to the expansive universe of modern poetry and the
unbounded, glorious craziness of “free jazz”. In short,
Grace Abounding surveys the astonishing contributions
that African Americans have made to American
and world culture. Within these pages you will find
history, literature, art, music, and dance—products of
unconquerable creativity, faith, wisdom, and kinship.
For hundreds of years, from the songs and stories that
helped to maintain hope and dignity in the dark days of
slavery to the most fruitful and vibrant arts and sociopolitical movements of the twentieth century, works
by African Americans have contributed immeasurably
to the development of American culture, though the
creators of these works have often labored without
thanks or even token recognition and were often subject
to (but never resigned to) appalling oppression and
abuse.
African-American literature and arts cannot and will
not be lumped together under a single, definable
aesthetic and treat no single theme or set of themes. As
artists whose expressions are born, first and foremost,
out of personal experience, African Americans must, of
course, tell their personal stories, but many have also
felt compelled to tell the story of a people who endured
oppression and injustice of a kind no one should have
to endure, of a people who suffered but triumphed. The
aim of this book is not to assert a definitive definition
of what African-American art is; nor do the editors and
authors of this text seek to set forth a fixed, conclusive
body of works to be separated as an “other” art, to be
viewed or interpreted apart from the works from other
cultural traditions. Rather, this book simply presents,
in a tantalizing, inviting manner, scores of American
artists whose works are already recognized as truly great.
This book presents masterpiece after masterpiece, and
its primary aim is to introduce these works to students
and to point students toward those other masterpieces
that do not appear in this book but are waiting to be
explored (and created) by their eager minds.
This book is filled with what one might call “household
names,” ones that should be familiar to people all over
the world. The Reverend Dr. Martin Luther King, Jr.,
would perhaps be first among those names. Langston
Hughes and Maya Angelou, Frederick Douglass and
Harriet Tubman—these names have been fixed in
textbooks for at least forty years, and so they will remain.
These are some of the most talented and courageous
Americans who ever lived, and so it is right that they
be remembered and celebrated. Others are familiar, as
well—bold social movers and great thinkers like W.
E. B. Du Bois, Booker T. Washington, and Malcolm
X. Their names continue to stir both controversy and
adoration. Their underlying philosophies differed, yet
each had the same basic goal, which was to obtain no
more and no less than what was pursued and promised
by America’s Founders. And there are many others whose
works have already made a profound and permanent
impact on American culture. They are not new
“discoveries”—their names are known, but not known
well enough by those of us living today in the world
they helped to form. Frances Harper, James Whitfield,
Ida B. Wells-Barnett, Fannie Coppin, Countee Cullen,
Paul Laurence Dunbar, James Weldon Johnson, Claude
McKay, Jean Toomer, Helene Johnson, Sterling Brown,
Arna Bontemps, Richard Wright, Margaret Walker,
Robert Hayden, Derek Walcott—these are but a few
of the great African Americans whom every American
needs to know.
To the Student
T
his is the beginning of an extraordinary journey,
but one that far too few students have ever
taken. Every time you begin one of the literary
selections in Grace Abounding—from the proverbs
and folktales to the essays and poems—you will be
dipping your bucket into a fresh well of knowledge and
wisdom. Drink it in. Help yourself. The pages of this
book contain great works of literature and art that have
already had a tremendous impact on your life, whether
you realize it or not. And these great works have been
carefully framed by the editors of this book with you,
the student, in mind. All the necessary tools and keys
to understanding have been built into every page. At
first, you might be surprised by the sheer number of
vocabulary words and footnotes in this book, as well as
by the wealth of information presented in the Prereading
and Delving Deeper sections that accompany every
literary selection. These are not intended to overwhelm
you with information; they are there to guide you and to
show that there is often much, much more to a work of
literature than first meets the eye. Take your time with
each work and you will be rewarded.
In literature, in art, and in music, history is reborn.
History and the arts are inseparable, and few artistic
and cultural traditions, especially in America, are more
closely tied to history than those of African Americans.
Perhaps no body of literature can provide a more
accurate reflection of the American experience, with all
of its rights and wrongs, joys and sorrows. The American
experience is unique in human history, but it is a part
vi
of human history nonetheless. And as much as humans
are capable of loving and helping one another, so too we
are guilty of inflicting great wrongs upon one another.
This book will not shield you from raw truths about
our history. But this book is not supposed to make you
mad. It is not supposed to make you pessimistic or angry
about the world. Rather, it should make you aware,
and curious, and much wiser about the forces at work
in society, both good and bad, that every person in our
society has a responsibility to recognize and respond
to. When bad, unjust, and even evil things occur, it
is the individuals who have committed themselves to
knowledge and understanding who must step forward,
bring communities together, and make things right, no
matter who is to blame or how hopeless the situation
might seem.
Everything else that could be said in this message has
already been printed on the pages of this book. Let these
great writers, artists, thinkers, and activists speak for
themselves. Go! Thumb through these pages. Glance at
the vivid illustrations and, when you find one that really
catches your eye, go ahead and start reading. These pages
will excite your imagination and your desire to learn and
leave you with the supreme knowledge that absolutely
nothing in this world can suppress human creativity and
expression, yours as well as theirs.
To the Teacher
G
race Abounding in the Classroom. This
anthology can be used, in whole or in part, in
any language arts or history program, grades
3-12, whether or not a school or district specifically
mandates a course in African-American Studies.
Understanding the Selection and Delving Deeper pages,
end-of-unit skills sections, and Prereading discussions
throughout the book, as well as the Handbook of Literary
Terms and Glossary, cover the full gamut of reading,
writing, speaking, and listening skills common in most
states’ learning standards; indeed, as a whole, the range
of literary selections and the number of skills covered
in Grace Abounding represent far more information than
the most ambitious curriculum would expect or hope to
cover in a single year.
Organizing a skills program. The indexes in this book
and the teacher guides, activities, tests, and other
supplemental materials available online provide all the
necessary tools for teachers and curriculum coordinators
who seek to align Grace Abounding with specific learning
standards or curriculum guidelines.
About the Literary Selections. Grace Abounding presents
a comprehensive survey of African-American literature.
It is the most extensive collection of African-American
literature, art, and music available to primary or secondary
schools. Still, the literary and art selections herein
present only a small, carefully chosen sampling of the
enormous wealth of African-American material available
in libraries, recordings, galleries and, increasingly, on the
Internet. This book is a doorway into a vast and everevolving literary and arts tradition, and it is the hope
of the authors and editors that students will come away
from Grace Abounding with a newfound interest in all
literature, all art, all music, all culture, as well as an
understanding of the profound degree to which history,
the future, and human creativity are intertwined. Taken
as a whole, the literary selections included in Grace
Abounding provide ample exposure to the literary forms,
styles, and genres with which students should be familiar
as they approach and proceed through high school.
Reading Level and Age Appropriateness. Each of the four
units of this book contains selections that are suitable
for younger readers, grades 3–6, including folktales,
autobiographical narratives, poems, and short stories.
Everything in the book is suitable for readers in grade
7 and up. However, certain essays and poems may be
deemed too challenging or unnecessary for certain reading
levels and age groups. A list of suggested reading levels
is available online, though teachers and administrators
are the best judges with regard to which selections will
be required reading. That said, all literary selections,
activities, accompanying illustrations, and music and art
selections have been carefully selected and designed with
the understanding that young readers, whether assigned
certain readings or not, are likely to read independently
any given page in the book.
Study Apparatus
Every literary selection in Grace Abounding contains
elements designed to maximize the student’s learning
experience. Here are some components of the study
apparatus in this text:
Prereadings. At the beginning of each literary selection
you will find a Prereading page that provides crucial
background information about the author’s purpose and
style and the historical context in which the piece was
written. Prereadings also provide helpful strategies for
reading the text in question.
Guided Reading Questions. These appear only in short
stories and essays, particularly complex or lengthy pieces,
and are placed to ensure that students maintain focus
and do not overlook key points in the readings.
Vocabulary in Place. The blue boxes on the bottom of
the page contain clear, concise definitions, in language
easy for students to understand, of words every student
ought to know. The Glossary in the back of the book
and the online vocabulary materials will help teachers
make the most out of the wealth of vocabulary words in
this book.
vii
Footnotes. Footnotes appear in just about every literary
selection and are used to interpret or shed light on many
elements of the texts: commonly used phrases, sayings,
and quotations (e.g., from scripture or from historical
documents); interpretations or definitions of archaic,
unusual, or specialized terms, usages, and spellings;
allusions and references to other writers and literary
works; major historical events and figures; and relations
to other selections in Grace Abounding. Teachers and
students will be surprised by the comprehensiveness
of the footnotes in Grace Abounding. In fact, this book
presents an innovative and exciting approach to teaching
literature. Footnotes open doors to essential knowledge;
each entry represents a key to cultural awareness and
literacy and so to advanced reading comprehension. It
is our hope that students will gain wisdom from the care
with which these notes were prepared, that they will learn
that knowledge and the continued quest for knowledge
leads one to expansive and previously unimagined
worlds. Don’t underestimate what one can learn from
reference materials. Remember what Malcolm X learned
from studying dictionaries! Footnotes will not obstruct
or stifle a young reader’s progress; on the contrary, they
should reinforce the idea that when reading, it is OK to
stop and think! That is what good readers do. With a
little practice, students will learn to use these extensive
footnotes (and the other study apparatus) to gain the
most from their reading. Train students to use their
fingers or a pen (with the cap on!) to hold a place in the
text so they can easily return to their spot after reading,
and considering, a footnote. Every footnote brings a
student one step closer to becoming an expert reader.
Understanding the Selection. After every selection there
are Recalling, Interpreting, and Synthesizing questions
(arranged according to Bloom’s Taxonomy of Educational
Objectives). These may be used as either discussion or
short answer questions. More often than not, students
will be expected, and should be encouraged, to refer
directly to the text whenever necessary. Teachers may use
these questions as the basis for tests and quizzes, though
materials more suited to this purpose are also available
online.
Delving Deeper. The final page of every selection features
writing, research, or discussion activities in the categories
of Understanding Literature, History Connections,
Speaking and Listening, and Writing. Also, after certain
poems, entries entitled A Reading of the Selection
present interpretations that will give young readers
unprecedented insight into how expert readers approach
poetry and why poetry is so necessary.
End-of-Unit Activities. At the ends of the units are
additional writing, speaking, and listening activities
designed to cover, comprehensively, the essential skills
in these areas. These activities also encourage additional
reflection upon essential ideas presented in the unit.
About Core Knowledge
The Core Knowledge Foundation is dedicated to preserving
and transmitting to future generations the knowledge and
cultural traditions that are central to the American experience.
From its beginning, the Foundation has attempted to reflect
in its curricula the ethnic and cultural diversity that is our
greatest asset as a nation. Dedicated to excellence and fairness
in education, the Foundation is an independent, nonprofit,
nonpartisan organization founded by E. D. Hirsch, Jr.,
professor emeritus of education and humanities at the
Unversity of Virginia. The Foundation derives its mission
from ideas first presented in Dr. Hirsch’s best-selling book
Cultural Literacy: What Every American Needs to Know (1987)
and further elaborated in The Schools We Need (1996) and
The Knowledge Deficit (2006). A leader in the national school
reform movement, the Foundation holds that for the sake of
academic excellence and in order to achieve higher literacy
rates, schools need to teach a solid, specific, sequenced, and
viii
shared body of knowledge. A carefully worked-out sequence
of grade-by-grade content, based on what America’s children
need to know to become literate citizens, is detailed in such
publications as the Core Knowledge Sequence (K–8) and the
Core Knowledge Preschool Sequence.
Core Knowledge curricula are currently being taught in schools
throughout the United States. The Core Knowledge Sequence
has been aligned with state standards, thereby enabling
students to meet state testing and NCLB requirements. Even
to schools that do not follow its curricula to the letter, the Core
Knowledge Foundation offers models of curricula designed to
ensure that American students learn what the need to learn in
order to become good readers, learners, and citizens.
Gerald L. Terrell, Sr., VP, K–8 Schools, Core Knowledge
www. coreknowledge. org
1-800-238-3233
Table of Contents
Unit 1
Origin: Out of Africa
Unit 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Africa Map and Facts . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Africanisms in the English Language . . . . . . . . . . . . . . . 6
Literature
Proverbs
Traditional
The Origin of African Proverbial Wisdom . . . . . . . . . . . 8
African Proverbial Wisdom. . . . . . . . . . . . . . . . . . . . . . 10
The Folktale
Traditional
“All Stories are Anansi’s”. . . . . . . . . . . . . . . . . . . . . . . . 14
“How Many Spots Does a Leopard Have?”. . . . . . . . . . 20
“The White Man and the Snake” . . . . . . . . . . . . . . . . . 25
“Tug of War” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
“Talk”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Religious Verse
Akhenaten
“Great Hymn to the Aten”. . . . . . . . . . . . . . . . . . . . . . 38
Epic Poetry
Bamba Suso
from Sunjata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Autobiographical Narrative
Olaudah Equiano
“My Early Life,” from The Interesting Narrative
of the Life of Olaudah Equiano. . . . . . . . . . . . . . . . . . . . 54
Speaking and Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Writing Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Focus on: Traditional African Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Role of Music in Traditional African Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
The Rhythmical Complexity of Traditional African Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
ix
The Communal Role of Dance in Traditional African Culture . . . . . . . . . . . . . . . . . . . . . . . . . 77
The Call-and-Response Tradition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Traditional African Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Musical Traditions That Survived the African Diaspora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Unit 2
Let My People Go, 1619–1865
Unit 2 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Historical Background: Slavery and the Slave Trade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Literature
The Autobiographical Narrative
Olaudah Equiano
“Horrors of a Slave Ship,” from The Interesting Narrative
of the Life of Olaudah Equiano. . . . . . . . . . . . . . . . . . . . 96
Nat Turner
from “The Confessions of Nat Turner”. . . . . . . . . . . . 104
Frederick Douglass
from Narrative of the Life of Frederick Douglass,
An American Slave. . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
“What to the Slave Is the Fourth of July?” . . . . . . . . . 122
Harriet Jacobs
from Incidents in the Life of a Slave Girl . . . . . . . . . . . 130
Speeches and Letters
Sojourner Truth
“Ar’n’t I a Woman,” speech at the Akton Convention
from Reminiscences by
Frances D. Gage of Sojourner Truth . . . . . . . . . . . . . . . 144
Benjamin Banneker
Letter to Thomas Jefferson. . . . . . . . . . . . . . . . . . . . . . . 150
The Folktale
Traditional
“The Knee-High Man”. . . . . . . . . . . . . . . . . . . . . . . . 156
“Tar Baby”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
“The Headless Hant” . . . . . . . . . . . . . . . . . . . . . . . . . 164
Poetry
Traditional “The Signifying Monkey”. . . . . . . . . . . . . . . . . . . . . . 168
Jupiter Hammon
from “An Address to Phillis Wheatley”. . . . . . . . . . . . 172
Phillis Wheatley “On Being Brought from Africa to America” . . . . . . . 175
from “To S. M., a Young African Painter, on Seeing His
Works”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Frances E. W. Harper
“Bury Me in a Free Land”. . . . . . . . . . . . . . . . . . . . . . 180
“The Slave Auction”. . . . . . . . . . . . . . . . . . . . . . . . . . 183
James Whitfield
“Self-Reliance”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
The Novel
William Wells Brown
“The Slave Auction,” from Clotelle:
A Tale of the Southern States. . . . . . . . . . . . . . . . . . . . . 192
Speaking and Listening Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Writing Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Focus on: African-American Music to the Reconstruction Era. . . . . . 201
The Spirituals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Anonymous
from “Didn’t My Lord Deliver Daniel”. . . . . . . . . . . . 202
from “Sometimes I Feel like a Motherless Child”. . . . 202
from “Swing Low, Sweet Chariot” . . . . . . . . . . . . . . . 203
from “Go Down, Moses”. . . . . . . . . . . . . . . . . . . . . . 204
“Follow the Drinking Gourd”. . . . . . . . . . . . . . . . . . . 205
from “Nobody Knows the Trouble I’ve Seen”. . . . . . . 206
W. E. B. Du Bois
“Of the Sorrow Songs,” from The Souls of
Black Folk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Work Songs and Field Hollers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Anonymous
from “Well, My Hammer”. . . . . . . . . . . . . . . . . . . . . 207
“Long John”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
“Lawd, I’m Goin’ to Take My Time”. . . . . . . . . . . . . . 209
from “Mama’s Gonna to Buy You a Mockin’ Bird”. . . 210
“John Henry”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Outlaw Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Anonymous
Po’ Lazarus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
African-American Dance in the Slavery and Reconstruction Eras . . . . . . . . . . . . . . . . . . . 214
xi
Unit 3
Up from Bondage, 1866–1939
Unit 3 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
A Tour of Harlem, circa 1926. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Historical Background: Reconstruction and Segregation . . . . . . . . . . . . . . . . . . . . . . . . 222
A Glossary of Key Terms and Events from The History of Jim Crow. . . . . . . . . . . . . . . . 224
Timeline: Major Events, 1863–1936. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Literature
The Biographical Narrative
Ann Petry
“The Flight,” from Harriet Tubman: Conductor on the
Underground Railroad. . . . . . . . . . . . . . . . . . . . . . . . . 232
The Autobiographical Narrative
Booker T. Washington
“The Struggle for an Education,” from
Up from Slavery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Fanny Jackson Coppin
“Autobiography: A Sketch” and “Good Manners”
from Reminiscences of School Life. . . . . . . . . . . . . . . . 252
Nonfiction
Ida B. Wells-Barnett
from “Southern Horrors: Lynch Law in
All Its Phases” and A Red Record. . . . . . . . . . . . . . . . . 260
W. E. B. Du Bois
“Of Our Spiritual Strivings,” from The Souls of
Black Folk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
“Address to the Country”. . . . . . . . . . . . . . . . . . . . . . 278
Marcus Garvey
Telegram Sent to the Disarmament Conference. . . . . . . . 284
Selected Quotations from the Speeches and Writings. 287
Alain Locke
Preface to The New Negro. . . . . . . . . . . . . . . . . . . . . . 290
Arthur Schomburg
“The Negro Digs Up His Past”. . . . . . . . . . . . . . . . . . 304
Langston Hughes
“The Negro Artist and the Racial Mountain” . . . . . . . 314
Poetry
xii
Paul Laurence Dunbar
“We Wear the Mask” . . . . . . . . . . . . . . . . . . . . . . . . . 322
“Sympathy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
James Weldon Johnson
“The Creation,” from God’s Trombones . . . . . . . . . . . . 328
“Lift Ev’ry Voice and Sing”. . . . . . . . . . . . . . . . . . . . . 332
“The Awakening”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Fenton Johnson
“The Banjo Player”. . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Anne Spencer
“White Things”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .338
Waverly Turner Carmichael
“Keep Me, Jesus, Keep Me” . . . . . . . . . . . . . . . . . . . . 339
Alice Dunbar Nelson
“I Sit and Sew”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Georgia Douglas Johnson
“The Heart of a Woman” . . . . . . . . . . . . . . . . . . . . . . 344
Angelina Weld Grimké
“The Black Finger”. . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Claude McKay
“If We Must Die” . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
“The Tropics in New York” . . . . . . . . . . . . . . . . . . . . 350
“Outcast”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Langston Hughes
“The Negro Speaks of Rivers”. . . . . . . . . . . . . . . . . . . 354
“Mother to Son”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
“Dream Variations” . . . . . . . . . . . . . . . . . . . . . . . . . . 358
“Dreams”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
“April Rain Song”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
“Jazzonia”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
“The Weary Blues”. . . . . . . . . . . . . . . . . . . . . . . . . . . 363
“Harlem [2]” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
“Daybreak in Alabama” . . . . . . . . . . . . . . . . . . . . . . . 366
“Song for a Dark Girl”. . . . . . . . . . . . . . . . . . . . . . . . 368
“I, Too”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Gwendolyn Bennett
“Heritage” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
“Fantasy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Countee Cullen
“Incident”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
“Heritage” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
“Yet Do I Marvel”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
“A Song of Praise”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
“Scottsboro, Too, Is Worth Its Song” . . . . . . . . . . . . . 387
Jean Toomer
“November Cotton Flower”. . . . . . . . . . . . . . . . . . . . 390
“Cotton Song”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Helene Johnson
“Magalu” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
“Sonnet to a Negro in Harlem”. . . . . . . . . . . . . . . . . . 398
Sterling Brown
“Ma Rainey”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Arna Bontemps
“The Day-Breakers” . . . . . . . . . . . . . . . . . . . . . . . . . . 408
xiii
“Southern Mansion”. . . . . . . . . . . . . . . . . . . . . . . . . . 410
“A Black Man Talks of Reaping”. . . . . . . . . . . . . . . . . 411
Fiction
Charles W. Chesnutt
“The Bouquet”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Zora Neale Hurston
from Their Eyes Were Watching God. . . . . . . . . . . . . . . 426
Speaking and Listening Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Writing Activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436
Focus on: The Birth of Uniquely American Music . . . . . . . . . . . . . . . . . . 437
Origins of the Blues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .438
Richard Jones “Trouble in Mind”. . . . . . . . . . . . . . . . . . . . . . . . . . . 439
The Content of Blues Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
The Structure of a Blues Tune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Alice Pearson
from “Broken Levee Blues”. . . . . . . . . . . . . . . . . . . . . 440
Blind Willie McTell
“Statesboro Blues”. . . . . . . . . . . . . . . . . . . . . . . . . . . .440
The Blues Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Instrumentation for the Blues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Blues Styles and Places. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Blues Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Robert Johnson
“Cross Road Blues”. . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Huddie William Ledbetter
(Leadbelly)
from “Please, Governor Neff”. . . . . . . . . . . . . . . . . . . 445
“Goodnight, Irene”. . . . . . . . . . . . . . . . . . . . . . . . . . . 445
Outlaw Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Traditional
“Stagger Lee”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
New Musical Venues: Medicine Shows and Vaudeville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Classic Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
W. C. Handy
“The St. Louis Blues” . . . . . . . . . . . . . . . . . . . . . . . . . 451
Boogie Woogie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Gospel Blues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454
Religious Music in the Post-Civil War Era. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Arranged Spirituals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
xiv
From Spirituals to Gospel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Sanctified/Holiness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Classic Gospel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
The Legacy of Gospel Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Ragtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Storyville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Lewis Allen (as performed by Billie Holiday) “Strange Fruit”. . . . . . . . . . . . . . . . . . . . 467
The Golden Age of African-American Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
The Cakewalk and the Origins of the Chorus Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Swing Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Tap Dance
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Concert Dance Innovators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Unit 4
Civil Rights and Beyond, 1939–Present
Unit 4 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Timeline: Major Events, 1939–1995. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480
The Black Arts Movement, 1965–1975. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Literature
The Autobiographical Narrative
Malcolm X
from The Autobiography of Malcolm X. . . . . . . . . . . . . 484
Maya Angelou
from I Know Why the Caged Bird Sings. . . . . . . . . . . . 504
Speeches and Letters
Reverend Dr. Martin Luther King, Jr.
from “Letter from Birmingham Jail”. . . . . . . . . . . . . . 516
“I Have a Dream”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
Wynton Marsalis
“Speech at Tulane University”. . . . . . . . . . . . . . . . . . . 528
xv
Poetry
xvi
Robert Hayden
“Frederick Douglass” . . . . . . . . . . . . . . . . . . . . . . . . . 540
“Those Winter Sundays” . . . . . . . . . . . . . . . . . . . . . . 542
“Homage to the Empress of the Blues” . . . . . . . . . . . 543
Dudley Randall
“Booker T. and W. E. B.” . . . . . . . . . . . . . . . . . . . . . . 546
Margaret Walker
“For My People”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
“The Ballad of the Free”. . . . . . . . . . . . . . . . . . . . . . . 553
“For Malcolm X”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Gwendolyn Brooks
“We Real Cool”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
“Rudolph Is Tired of the City” . . . . . . . . . . . . . . . . . . 560
“Tommy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
“Narcissa” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
“The Bean Eaters” . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Amiri Baraka
“Ka’ba”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Mari Evans
“I Am a Black Woman”. . . . . . . . . . . . . . . . . . . . . . . .572
Eloise Greenfield
“By Myself ”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
“Harriet Tubman”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Sonia Sanchez
“for our lady”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
“to Kenny”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
“WE CAN BE” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Selected haiku from Love Poems . . . . . . . . . . . . . . . . . 585
Maya Angelou
“Life Doesn’t Frighten Me”. . . . . . . . . . . . . . . . . . . . . 588
“Woman Work”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Nikki Giovanni
“Knoxville, Tennessee”. . . . . . . . . . . . . . . . . . . . . . . . 594
“Nikki-Rosa” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
“The Drum” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Lucille Clifton
“in the inner city”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
“for deLawd” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Rita Dove
“Parsley”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Michael S. Harper
“Br’er Sterling and the Rocker”. . . . . . . . . . . . . . . . . . 612
“Use Trouble” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Derek Walcott
“Che”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
“Season of Phantasmal Peace”. . . . . . . . . . . . . . . . . . . 620
“A Far Cry from Africa” . . . . . . . . . . . . . . . . . . . . . . . 622
from Map of the New World: “I Archipelagoes”. . . . . . 624
Jay Wright
“Benjamin Banneker Sends His Almanac to
Thomas Jefferson”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Fiction
Richard Wright
“The Man Who Saw the Flood”. . . . . . . . . . . . . . . . . 632
Dorothy West
“The Richer, the Poorer”. . . . . . . . . . . . . . . . . . . . . . . 640
Alice Walker
“Everyday Use”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Toni Cade Bambara
“Geraldine Moore: the Poet”. . . . . . . . . . . . . . . . . . . . 656
“Raymond’s Run”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Toni Morrison
from Beloved. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Drama
Lorraine Hansberry
A Raisin in the Sun, Act 1. . . . . . . . . . . . . . . . . . . . . . 676
Ntozake Shange
“lady in blue” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Speaking and Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700
Writing Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Focus on: The Triumph of African-American Music . . . . . . . . . . . . . . . . 704
Background: Swing Jazz and Jazz Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Bebop: Bird, Dizzy, and Monk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Thelonius Monk and
Bernie Hanighen
“’Round Midnight” . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Miles Davis and Cool Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710
John Coltrane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712
John Coltrane
“A Love Supreme”. . . . . . . . . . . . . . . . . . . . . . . . . . . . 713
Other Jazz Greats and Idioms: Hard Bop, Soul Jazz, Free Jazz, Jazz Fusion, Smooth Jazz. . . 715
The Evolution of the Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717
What the Blues Became: Varieties of Popular Music from the 1950s to the Present. . . . . . . 719
Early R&B and Rock ‘n’ Roll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719
Jimi Hendrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .722
Motown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Marvin Gaye, Al Cleveland,
and Renaldo Benson
“What’s Going On” . . . . . . . . . . . . . . . . . . . . . . . . . . 723
Soul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Percy Sledge
“When a Man Loves a Woman”. . . . . . . . . . . . . . . . . 726
xvii
Funk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Bob Marley and the Wailers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730
Hip Hop/Rap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
Modern African-American Dance: Selected Developments. . . . . . . . . . . . . . . . . . . . . . . . . . 732
The Legacy of African-American Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
A Gallery of African-American Art
xviii
Edmonia Lewis
Hagar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740
Edward Mitchell Bannister
Woman Walking Down Path . . . . . . . . . . . . . . . . . . . . 742
Henry Ossawa Tanner
The Banjo Lesson . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744
The Good Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
The Wreck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746
Aaron Douglas
Study for Aspects of Negro Life: The Negro
in an African Setting. . . . . . . . . . . . . . . . . . . . . . . . . 748
The Unknown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750
James VanDerZee
Satin and Pearls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752
Father’s Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752
Couple in Raccoon Coats . . . . . . . . . . . . . . . . . . . . . . . 754
Augusta Savage
Gamin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Hilda Wilkinson Brown
Young Man Studying. . . . . . . . . . . . . . . . . . . . . . . . . . 758
Sargent Claude Johnson
Mask. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Singing Saints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Hale Woodruff
Returning Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Poor Man’s Cotton . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Charles Sallee
Swingtime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Lois Mailou Jones
Les Fetiches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Portrait . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770
Jazz Combo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770
Jacob Lawrence
The Migration of the Negro, Panels 3 and 15.. . . . . . . . 772
The Migration of the Negro, Panels 10 and 58. . . . . . . . 774
William E. Smith
Pay Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Gordon Parks
Char woman with Mop and Broom by American Flag. . 778
Family in Apartment. . . . . . . . . . . . . . . . . . . . . . . . . . 778
Football Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Forging Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Photographer GP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Queenie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Woman and Dog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Horace Pippin
Mr. Prejudice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782
William A. Johnson
Dr. George Washington Carver. . . . . . . . . . . . . . . . . . . 784
Beauford Delaney
Can Fire in the Park . . . . . . . . . . . . . . . . . . . . . . . . . . 786
James A. Porter
On a Cuban Bus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788
William Artis
Bust of Miss Coleman. . . . . . . . . . . . . . . . . . . . . . . . . . 790
James Hampton
The Throne of the Third Heaven of the
Nations Millennium General Assembly. . . . . . . . . . . . . 792
Hughie Lee-Smith
Boy With Tire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
John Biggers
Details from the mural
The History of Negro Education
in Morris County, Texas. . . . . . . . . . . . . . . . . . . . . . . . 796
Richard Dempsey
Circus in Bogota . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800
Lev T. Mills
Gemini I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 802
Alma Woodsey Thomas
Eclipse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Charles Alston
M. L. K. Jr.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Elizabeth Catlett
Sharecropper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808
Frank Bowling
Where Is Lucienne?. . . . . . . . . . . . . . . . . . . . . . . . . . . .810
Franklin White
Bacon and Eggs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
Irene Clark
Blue Lizard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
David Driskell
Women in Interiors . . . . . . . . . . . . . . . . . . . . . . . . . . . 816
Romare Bearden
Roots Odyssey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Ragging Home. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820
Charles White
John Henry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822
George Wilson
Jumping Rope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824
Sam Gilliam
Open Cylinder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826
Rex Goreleigh
Red Barn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828
Frederick Brown
Stagger Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
Richard Mayhew
Vista. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832
xix
Summer Serenade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832
Derek Walcott
Breakers, Becune Point. . . . . . . . . . . . . . . . . . . . . . . . . 834
Louis Delsarte
Reflections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
The Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Appendices
Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838
Handbook of Literary Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .851
Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891
Subject Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .904
Index of Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921
Index of Authors, Titles, and First Lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927
Index of Illustrations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931
Index of Study Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 935
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xxi