美国高中语文教材1

Acknowledgments

Literature

Active Reading Models

“The Life You Save May Be Your Own” from A Good Man Is Hard to Find and Other Stories,copyright ? 1953 by Flannery O’Connor and renewed 1981 by Reginia O’Connor, reprinted by permission of Harcourt Brace & Company.

“The Fish” from The Complete Poems 1927–1979by Elizabeth Bishop. Copyright ? 1979, 1983 by Alice Helen Methfessel. Reprinted by permission of Farrar, Straus & Giroux, Inc.“Thoughts on the African-American Novel” by Toni Morrison, from Black Women Writers (1950–1980)by Mari Evans. Copyright ?1983 by Mari Evans. Reprinted by permission of Doubleday, a division of Random House, Inc.

Unit 1

“The Sky Tree” retold by Joseph Bruchac, from Keepers of Life,

by Michael Caduto and Joseph Bruchac. Copyright ? 1994, Fulcrum Publishing, 350 Indiana St., Suite 350, Golden, CO 80401. (800) 992–2908.

“Shipwreck Survivors Recall Ordeal” by Patrick McDonnell. Copyright ? 1997, Los Angeles Times. Reprinted by permission.

Excerpt from The Account: Alvar Nunez Cabeza de Vaca’s Relacion, edited and translated by José Fernandez and Martin Favata is reprinted with permission from the publisher (Houston: Arte Publico Press—University of Houston, 1993).

“In Your Eyes” by Peter Gabriel. Copyright ? 1986 Real World Music, Ltd. Reprinted with permission of Lipservices.

From Lang, Amy Schrager, ed. “A True History of the Captivity and Restoration of Mary Rowlandson,” in Andrews, William L., Sargent Bush Jr., Annette Kolodny, Amy Schrager Lang and Daniel B. Shea, eds. Journeys in New Worlds: Early American Women’s Narratives. Copyright 1990. Reprinted by permission of The University of Wisconsin Press.

Reprinted with the permission of The Free Press, a Division of Simon & Schuster from Stay Alive, My Son by Pin Yathay. Copyright ? 1987 by Pin Yathay. Excerpt from Stay Alive, My Son,copyright ? 1987 by Pin Yathay. Reprinted by permission of the author. Unit 2

“Give Me Rhetoric!” by Wen Smith, from the Saturday Evening Post, September/October 1996. Reprinted by permission of the author. “Thermopylae” from The Histories by Herodotus, translated by Aubrey de Selincourt, revised by A. R. Burn (Penguin Classics 1954, Revised edition 1972) copyright ? the Estate of Aubrey de Selincourt, 1954 copyright ? A. R. Burn, 1972. Reprinted by per-mission of Penguin Books Ltd.

“To His Excellency, George Washington” from The Poems of Phillis Wheatley, edited by Julian D. Mason. Copyright ? 1989 by the University of North Carolina Press. Used by permission of the publisher.

“Amistad America” reprinted by permission of the Amistad Project, Mystic Seaport, Connecticut.

“Dead Singer Buckley’s Voice Haunts Poe Disc” by Steve James

? Reuters Limited 1998. Used by permission.

Unit 3

“Swing Low, Sweet Chariot” and “Go Down, Moses” from Religious Folk-Songs of the Negro,edited by R. Nathaniel Dett. Reprinted courtesy of AMS Press, Inc.

“Follow the Drinking Gourd,” adapted by John L. Haag, from All American Folk, Vol. #1.Copyright ? 1982 and 1986 Creative Concepts Publishing Corp. Used by permission.

“Mars Robot ‘Sojourner’ Named by Black Girl to Honor Abolitionist Sojourner Truth,” Jet magazine, July 29, 1997. Reprinted by permission.

From His Promised Land: The Autobiography of John P. Parker by Stuart Selly Sprague, editor. Copyright ? 1996 by The John P. Parker Historical Society. Reprinted by permission of W. W. Norton & Company, Inc.

Excerpt from Mary Chestnut’s Civil War,edited by C. Vann Woodward. Copyright ? 1986 by C. Vann Woodward, Sally Bland Metts, Barbara G. Carpenter, Sally Bland Johnson, and Katherine W. Herbert. Reprinted by permission of Yale University Press.

“An Occurrence at Owl Creek Bridge” from The Twilight Zone Companion by Marc Scott Zicree. Copyright ? 1982 by Marc Scott Zicree. Reprinted by permission of the author.

“The Gift in Wartime” by Tran Mong Tu. Reprinted by permission of the author.

“Stolen Whitman Papers Surface After 50 Years” by David Streitfeld and Elizabeth Kastor. Copyright ? 1995, The Washington Post. Reprinted with permission.

“The Useless” by Thomas Merton from The Way of Chuang Tzu. Copyright ? 1965 by The Abbey of Gethsemane. Reprinted by per-mission of New Directions Publishing Corp.

“Butterfly Dream” from The Book of Chuang Tzu,translated by Martin Palmer, with Elizabeth Breuilly, Chang Wai Ming, and Jay Ramsey (Arkana, 1996) copyright ? ICOREC 1996. Reproduced by permission of Penguin Books Ltd.

Poems #511, #303, #67, #435, #1624, #1732, #465, #1078,

#712, #258, #441 reprinted by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson,Thomas H. Johnson, ed., Cambridge, Mass: The Belknap Press of Harvard University Press, copyright ? 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College.

Emily Dickinson parody (“The Apple falls—its own Society—”) by Christopher C. Lund. Reprinted by permission of the author.

Emily Dickinson parody (“Punctuations * My forte”-”) by Robert Hogge. Reprinted by permission of the author.

(Continued from page ii)

ACKNOWLEDGMENTS

Unit 4

Excerpt from Frogs,text ? David Badger, photo ? John Netherton, reprinted with permission of the publisher, Voyageur Press, Inc., Stillwater, MN 55082. 1-800-888-9653.

“Chief Sekoto Holds Court” from Tales of Tenderness and Power, published by Heinemann International in their African Writers Series, 1990. Copyright ? 1989 The Estate of Bessie Head. Unit 5

“In a Station of the Metro” and “A Pact” by Ezra Pound, from Personae. Copyright ? 1926 by Ezra Pound. Reprinted by permis-sion of New Directions Publishing Corp.

“The Red Wheelbarrow,” and “This Is Just to Say” by William Carlos Williams, from Collected Poems: 1909–1939, Volume I.Copyright ? 1938 by New Directions Publishing Corp. Reprinted by permis-sion of New Directions Publishing Corp.

“Anecdote of the Jar” from Collected Poems by Wallace Stevens. Copyright ? 1923 and renewed 1951 by Wallace Stevens. Reprinted by permission of Alfred A. Knopf, Inc., a division of Random House, Inc.

From “Let’s Call the Whole Thing Off” by Leila Cobo-Hanlon. Reprinted with the permission of the St. Louis Post-Dispatch, copyright ? 1995.

“The Jilting of Granny Weatherall” from Flowering Judas and Other Stories,copyright ? 1930 and renewed 1958 by Katherine Anne Porter, reprinted by permission of Harcourt Brace & Company.

“Richness” by Gabriela Mistral, translated by Doris Dana. Reprinted by arrangement with Doris Dana, c/o Joan Daves Agency as agent for the proprietor. Copyright ? 1971 by Doris Dana.

“Dirge Without Music” by Edna St. Vincent Millay. From Collected Poems, HarperCollins. Copyright ? 1928, 1955 by Edna St. Vincent Millay and Norma Millay Ellis. All rights reserved. Used by permis-sion of Elizabeth Barnett, literary executor.

“Recuerdo” by Edna St. Vincent Millay. From Collected Poems, HarperCollins. Copyright ? 1922, 1950 by Edna St. Vincent Millay. All rights reserved. Used by permission of Elizabeth Barnett, literary executor.

“anyone lived in a pretty how town,” copyright 1940, ? renewed 1968, 1991 by the Trustees for the E. E. Cummings Trust, from Complete Poems: 1904–1962by E. E. Cummings. Edited by George J. Firmage. Reprinted by permission of Liveright Publishing Corporation.

“Poetry,” reprinted with the permission of Simon & Schuster from Collected Poems by Marianne Moore. Copyright ? 1935 by Marianne Moore; copyright renewed ? 1963 by Marianne Moore and T. S. Eliot.

“The Bridal Party,” reprinted with the permission of Scribner, a division of Simon & Schuster, from The Short Stories of F. Scott Fitzgerald,edited by Matthew J. Bruccoli. Copyright ? 1930 by Curtis Publishing. Copyright renewed ? 1958 by Frances Scott Fitzgerald Lanahan.Excerpts from Songs of Gold Mountain: Rhymes from San Francisco Chinatown by Marion K. Hom. Copyright ? 1987 The Regents of the University of California. Reprinted by permission of the University of California Press.

“In Another Country,” reprinted by permission of Scribner, a division of Simon & Schuster, from Men Without Women by Ernest Hemingway. Copyright ? 1927 by Charles Scribner’s Sons. Copyright renewed 1955 by Ernest Hemingway.

“Soldiers of the Republic” by Dorothy Parker, and “Penelope” by Dorothy Parker, from The Portable Dorothy Parker by Dorothy Parker, Introduction by Brendan Gill. Copyright 1928, renewed ?1956 by Dorothy Parker. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc.

“Stopping by Woods on a Snowy Evening,” “Mending Wall,”“Birches,” and “The Death of the Hired Man” from The Poetry

of Robert Frost, edited by Edward Connery Lathem. Copyright 1944, 1951, ? 1956, 1958 by Robert Frost, ? 1967 by Lesley Frost Ballantine, copyright 1916, 1923, 1928, 1930, 1939 ? 1969 by Henry Holt & Co., Inc. Reprinted by permission of Henry Holt & Co., Inc.

“My City,” copyright 1935 by James Weldon Johnson, ? renewed 1963 by Grace Nail Johnson, from Saint Peter Relates an Incident by James Weldon Johnson. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc.

“A Place to Be Free” by Constance Johnson. Copyright ? March 2, 1992, U.S. News & World Report. Reprinted by permission.

Excerpt from Dust Tracks on a Road by Zora Neale Hurston. Copyright ? 1942 by Zora Neale Hurston. Copyright renewed 1970 by John C. Hurston. Reprinted by permission of HarperCollins Publishers, Inc.

“Artist Jacob Lawrence” ? Copyright NPR? 1998. The news report by NPR’s William Drummond was originally broadcast on National Public Radio’s “Morning Edition?” on June 9, 1998, and is used with the permission of National Public Radio, Inc. Any unauthorized duplication is strictly prohibited.

“I, Too” from Collected Poems by Langston Hughes. Copyright

? 1996 by the Estate of Langston Hughes. Reprinted by permis-sion of Alfred A. Knopf, Inc., a division of Random House, Inc.“The Negro Speaks of Rivers” from Selected Poems by Langston Hughes. Copyright ? 1926 by Alfred A. Knopf and renewed 1954 by Langston Hughes. Reprinted by permission of the publisher.

“And We Shall Be Steeped” from Nocturnes by L. S. Senghor. Copyright ? Editions du Seuil, 1964. Reprinted by permission of Editions du Seuil.

“Storm Ending” from The Collected Poems of Jean Toomer,

edited by Robert B. Jones and Margery Toomer Latimer. Copyright ? 1988 by the University of North Carolina Press. Used by permis-sion of the publisher.

“A Black Man Talks of Reaping” from Personals by Arna Bontemps. Reprinted by permission of Harold Ober Associates Incorporated. Copyright ? 1963 by Arna Bontemps.

“Any Human to Another” from On These I Stand by Countee Cullen. Copyrights held by the Amistad Research Center, adminis-tered by Thompson and Thompson, New York, NY.

ACKNOWLEDGMENTS

From A Brief History Of Time by Stephen W. Hawking. Copyright ?1988 by Stephen W. Hawking. Reprinted by permission of Bantam Books, a division of Random House, Inc.

Unit 6

“The Second Tree from the Corner” from The Second Tree from the Corner by E. B. White. Copyright ? 1947 by E. B. White. Copyright renewed. Reprinted by permission of HarperCollins Publishers, Inc.

Excerpt from “The Mystery of Happiness” an ABC Special Report, September 4, 1997. Special thanks to ABC News.

“Ode to My Socks” from Neruda and Vallejo: Selected Poems,trans-lated by Robert Bly and James Wright, Boston, Beacon Press 1976.? 1972 by Robert Bly. Reprinted with the translator’s permission.

“A Rose for Emily” from Collected Stories of William Faulkner by William Faulkner. Copyright ? 1930 and renewed 1958 by William Faulkner. Reprinted by permission of Random House, Inc.

“Upon Receiving the Nobel Prize for Literature” from Essays, Speeches & Public Letters by William Faulkner by William Faulkner, edited by James B. Meriwether. Copyright ? 1950 by William Faulkner. Reprinted by permission of Random House, Inc.“Father’s Bedroom” from Selected Poems by Robert Lowell. Copyright ? 1976 by the Estate of Robert Lowell. Reprinted by permission of Farrar, Straus & Giroux, Inc.

Excerpt from Black Boy by Richard Wright. Copyright ? 1937, 1942, 1944, 1945 by Richard Wright. Copyright renewed 1973 by Ellen Wright. Reprinted by permission of HarperCollins Publishers, Inc.

“100-Mile Run to Agony and Ecstasy” by Sonia Nazario. Copyright ? 1996, Los Angeles Times. Reprinted by permission.

“A Worn Path” from A Curtain of Green and Other Stories,copy-right 1941 and renewed 1969 by Eudora Welty, reprinted by permission of Harcourt Brace & Company.

“The Explorer” by Gwendolyn Brooks, from Blacks,published by Third World Press, Chicago. ? 1991. Reprinted by permission of the author.

“February” from The Collected Essays of Ralph Ellison by Ralph Ellison. Copyright ? 1995 by Random House, Inc. Reprinted by permission of Random House, Inc.

“The Portrait” by Tomás Rivera, translated by Evangelina Vigil-Pi?on, is reprinted with permission from the publisher of . . . And the Earth Did Not Devour Him(Houston: Arte Publico Press-University of Houston, 1987).

“The Death of the Ball Turret Gunner” from The Complete Poems by Randall Jarrell. Copyright ? 1969 by Mrs. Randall Jarrell. Reprinted by permission of Farrar, Straus & Giroux, Inc.

“The Beautiful Changes” from The Beautiful Changes and Other Poems,copyright ? 1947 and renewed 1975 by Richard Wilbur, reprinted by permission of Harcourt Brace & Company.

“The Rockpile” is collected in Going to Meet the Man? 1965 by James Baldwin. Copyright renewed. Published by Vintage Books.Reprinted by arrangement with the James Baldwin Estate.

“The Magic Barrel” from The Magic Barrel by Bernard Malamud. Copyright ? 1950, 1958 and copyright renewed ? 1977, 1986 by Bernard Malamud.

Excerpt from Stride Toward Freedom reprinted by arrangement of The Heirs to the Estate of Martin Luther King Jr., c/o Writers House, Inc. as agent for the proprietor. Copyright 1963 by Martin Luther King Jr., copyright renewed 1991 by Coretta Scott King.

“Blacklisted Women Vindicated by Federal Court Ruling” ? Copy-right NPR? 1996. The news report by NPR’s Daniel Zwerdling was originally broadcast on National Public Radio’s “Morning Edition?”on March 16, 1996, and is used with the permission of National Public Radio, Inc. Any unauthorized duplication is strictly prohibited.

The Crucible by Arthur Miller. Copyright 1952, 1953, 1954, renewed ? 1980, 1981, 1982 by Arthur Miller. Reprinted by permission of Viking Penguin, a division of Penguin Putnam Inc.“Nineteen Thirty-Seven” from Krik? Krak!by Edwidge Danticat. Copyright ? 1991, 1992, 1993, 1994, 1995 by Edwidge Danticat. Reprinted by permission of Soho Press.

Unit 7

“Snow” from How the Garcia Girls Lost Their Accents.Copyright

? 1991 by Julia Alvarez. Published by Plume, an imprint of Dutton, a division of Penguin Putnam Inc., and originally in hardcover by Algonquin Books of Chapel Hill. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved.

Excerpt from The Woman Warrior by Maxine Hong Kingston. Copyright ? 1975, 1976 by Maxine Hong Kingston. Reprinted by permission of Random House, Inc.

“Son” from Problems and Other Stories by John Updike. Copyright ? 1973 by John Updike. Reprinted by permission of Alfred A. Knopf, Inc., a division of Random House, Inc.

Excerpt from The Way to Rainy Mountain by N. Scott Momaday. Copyright ? 1969 by the University of New Mexico Press. Reprinted by permission of the author.

“Kitchens” by Aurora Levins Morales from Getting Home Alive by Aurora Levins Morales and Rosario Morales. Copyright ? 1986 by Aurora Levins Morales and Rosario Morales. Reprinted by permis-sion of Firebrand Books.

“Bread” from Good Bones and Simple Murders by Margaret Atwood. Copyright ? 1983, 1992, 1994 by O. W. Toad Ltd. A Nan A. Talese Book. Reprinted by permission of Doubleday, a division of Random House, Inc.

“Bread” from Murder in the Dark by Margaret Atwood. Used by permission, McClelland & Stewart, Inc., The Canadian Publishers.“Picture Bride” from Picture Bride by Cathy Song. Copyright ? 1983 by Cathy Song. Reprinted by permission of Yale University Press.“Love and Money” by Ellen Futterman. Reprinted with permission of the St. Louis Post-Dispatch.Copyright ? 1994.

“Prime Time” from Colored People by Henry Louis Gates Jr. Copy-

ACKNOWLEDGMENTS

right ? 1994 by Henry Louis Gates Jr. Reprinted by permission of Alfred A. Knopf, Inc., a division of Random House, Inc.

Excerpt from “Kubota” from Volcano by Garrett Hongo. Copyright ?1995 by Garrett Hongo. Reprinted by permission of Alfred A. Knopf, Inc., a division of Random House, Inc.

“Speaking” from Woven Stone by Simon J. Ortiz. Copyright ? 1992 by Simon J. Ortiz. Reprinted by permission of the author.“apprenticeship” reprinted by permission of the author, Evangelina Vigil-Pi?on.

“Prayer to the Pacific,” copyright ? 1981 by Leslie Marmon Silko. Reprinted from Storyteller by Leslie Marmon Silko, published by Seaver Books, New York, New York.

“Riding the Elevator Into the Sky” from The Awful Rowing Toward God by Anne Sexton. First published in the New Yorker.Copyright ? 1975 by Loring Conant Jr., executor of the Estate of Anne Sexton. Reprinted by permission of Houghton Mifflin Company. All rights reserved.

Excerpt from “Need a Lift?” by Randy Brown, from Buildings, December 1996. Copyright ? 1996 Stamats Communications. Reprinted by permission.

“Game” by Donald Barthelme. Copyright ? 1982 by Donald Barthelme, as printed in 60 Stories.Reprinted with the permission of The Wylie Agency.

“Waiting for the Barbarians” from Keeley, Edmund, and Sherrard, Philip (translators); C. P. Cavafy: Selected Poems.Copyright ? 1972 by Edmund Keeley and Philip Sherrard. Reprinted by permission of Princeton University Press.

“Mirror” from Crossing the Water by Sylvia Plath. Copyright ? 1963 by Ted Hughes. Originally appeared in the New Yorker.Reprinted by permission of HarperCollins Publishers, Inc.

“Traveling Through the Dark,” copyright ? 1962, 1998 by the Estate of William Stafford. Reprinted from The Way It Is: New & Selected Poems by William Stafford with the permission of Graywolf Press, Saint Paul, Minnesota.

“Frederick Douglass,” copyright ? 1966 by Robert Hayden, from Collected Poems of Robert Hayden by Frederick Glaysher, editor. Reprinted by permission of Liveright Publishing Corporation.

“#2 Memory” and “Poem” from Mainland by Victor Hernandez Cruz. Copyright ? 1973 by Victor Hernandez Cruz. Reprinted by permission of Random House, Inc.

“Weaver” copyright ? 1974 Sandra María Esteves, reprinted with permission from the author.

“For Georgia O’Keeffe,” by Pat Mora, is reprinted with permission from the publisher of Chants(Houston: Arte Publico Press—University of Houston, 1985).

“Most Satisfied By Snow” first appeared in The Virginia Quarterly Review, Autumn, 1973. Copyrighted by Diana Chang and reprinted by permission of the author.

“Geometry” from Rita Dove, Selected Poems,? 1980, 1993 by Rita Dove. Used by permission of the author.

“The Welder” from This Bridge Called My Back:Writings by Radical Women of Color.Copyright ? 1983 by Cherrie Moraga and Gloria Anzaldua. NY: Kitchen Table Press, 1983.

“The House” and “La Casa” by Maria Herrera-Sobek, from Chasqui, published in Infinite Divisions,by Tey Diana Rebolledo (University of Arizona Press, 1993).

“Salvador Late or Early” from Woman Hollering Creek. Copyright ? 1991 by Sandra Cisneros. Published by Vintage Books, a division of Random House, Inc., and originally in hardcover by Random House, Inc. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved.

“Embroidering: A Response to ‘Somnad’ by Carl Larsson” by Rita Magdaleno, from New Chicano/Chicana Writing 2,University of Arizona Press, 1992. Reprinted by permission of the author.

“El Olvido” by Judith Ortiz Cofer is reprinted with permission from the publisher of Terms of Survival(Houston: Arte Publico Press -University of Houston, 1987).

“The Names of Women,” copyright ? 1992 by Louise Erdrich (from Granta41, Autumn 1992). This story first appeared in Granta and was later adapted and made part of Ms. Erdrich’s novel Tales of Burning Love(HarperCollins 1996). Reprinted by permission of the author.

“The name reign: new parents balance the trendy and the unique”by Janet Simons. Reprinted by permission from the Rocky Mountain News.

“Naming Myself” and “Poniendome un Nombre” by Barbara Kingsolver. Copyright ? 1994 by Barbara Kingsolver. Reprinted from Another America,by Barbara Kingsolver, and published by Seal Press.

“A Poet’s Job” by Alma Villanueva, from Bloodroot,Place of Herons Press, 1982. Reprinted by permission of the author.

Maps

Ortelius Design, Inc.

Photography

Abbreviation key: AH = Aaron Haupt Photography; AP = Archive Photos; AR = Art Resource, New York; BAL = Bridgeman Art Library, London/New York; CB = Corbis/Bettmann; CI = Christie’s Images; FMWPC = Frank & Marie-Therese Wood Print Collections, Alexandria VA; LPBC/AH= book provided by Little Professor Book Company. Photo by Aaron Haupt; LOC = Library of Congress; NWPA = North Wind Picture Archives; SIS = Stock Illustration Source; SS = SuperStock; TSI = Tony Stone Images.

Cover(coin)Aaron Haupt, (painting)The Patrick Henry National Memorial, Brookneal VA; vii(t–b)NWPA, Chateau de Versailles, France/E.T. Archive, London/SS, Gene Ahren/Bruce Coleman Inc., Culver Pictures, private collection. Courtesy Terry Dintenfass Gallery, NY, CB, Wayne Miller/Magnum Photos; viii Ashmolean Museum, Oxford, UK/BAL; ix Robert Llewellyn/Uniphoto; x(t)Collection of the New York Public Library. Astor, Lenox and Tilden Foundations (b)Independence National Park; xi CI; xii(t)private collection, photo courtesy Robert M. Hicklin Jr., Inc., Spartanburg SC, (b)High Impact Photography/Time Life Books; xiv National Gallery of Art, Washington DC. Gift of the W.L. and May T. Mellon Foundation;

xv The Museum of Modern Art, New York. Philip L. Goodwin Collection; xvi(t)National Gallery of Art, Washington DC. Collection of Mr. and Mrs. Paul Mellon, (b)CB; xvii Wide World Photos;

xviii(t)CI, (b)Tom Till/DRK Photo; xix(l)First Image, (r)SAFECO Insurance Company, Seattle WA. Courtesy the artist and the Francine Seders Gallery, Seattle WA; xxi The Stock Market;

xxii Hampton University Museum, Hampton VA; xxvii Cambodian Artists Assistance Program; xxviii(t)Ron Watts/Corbis Los Angeles,

ACKNOWLEDGMENTS

(b)Art Wolfe/TSI; xxix LOC/CB;4AH; 6Flannery O’Connor Collection, Ina Dillard Russell Library,GA College & State University; 7Courtesy Hubert Shuptrine; 9O.K. Harris Works of Art, New York; 10Kactus Foto, Santiago, Chile/SS; 15O.K. Harris Works of Art, New York; 17Reprinted with permission of Mrs. Emil J. Kosa Jr.; 20, 21AH; 22UPI/CB; 24BAL; 26, 27AH; 28Erin Elder/SABA; 29Ackland Art Museum, University of NC at Chapel Hill. Ackland Fund; 31Collection, High Museum at Georgia-Pacific Center, Atlanta GA; 32Wadsworth Atheneum, Hartford CT. The Ella Galup Sumner and Mary Catlin Sumner Collection; 36Ashmolean Museum, Oxford, UK/BAL; 38SS; 39Hand-colored engraving, NWPA;

40(tl)AP, (tr)FMWPC, (b)CI; 41(t)Robert Llewellyn/Uniphoto, (bl)from Historic Samplers by Patricia Ryan and Allen D. Bragdon, Bulfinch Press. Collection of The Bennington Museum, Bennington VT, (br)Peabody Essex Museum; 42(l)American Bible Society, New York/SS, (r)CB; 43Wadsworth Atheneum, Hartford CT; 44(t)Culver Pictures/SS; (b)The Newberry Library/Stock Montage; 45Philbrook Art Center, Tulsa OK; 46Ron Watts/Corbis Los Angeles; 47Jose Galvez/PhotoEdit; 50Rochester Museum & Science Center, Rochester NY; 51Stock Montage; 53Arthur Rothstein/CI; 54Drawing by Seth Eastman; 55NY State Museum; 60Flip Nicklin/Minden Pictures; 61Amanita Pictures; 63Frederic Remington Art Museum, Ogdensburg NY; 68CB; 69Museum of the City of New York/CB; 70CB; 76E.T. Archive; 77Tom Stewart/The Stock Market; 79The CT Historical Society, Hartford CT; 82(t)John Henley/The Stock Market, (b)Peter Cade/TSI; 83NWPA; 84Trustees of the Boston Library; 85, 87NWPA; 92Sophie Bassouls/Sygma; 93Gamma Liaison; 94(t)Cambodian Artists Assistance Program, (b)Gamma Liaison; 95, 96Gamma Liaison; 98Cambodian Artists Assistance Program; 99Larry Moore/SIS; 100Yale University Art Gallery, New Haven CT; 101Loaned by the Dept. of Parks and Recreation, City of Boston. Courtesy Museum of Fine Arts, Boston; 103National Portrait Gallery, London; 108Publishers Depot; 115LPBC/AH; 118Collection of the New York Public Library. Astor, Lenox and Tilden Foundations; 120Private collection/BAL; 121Bowdoin College of Art Museum; 122(t)CB, (b)H. Armstrong Roberts;

123(l)The Newark Museum/AR, (r)FMWPC; 124(l)Brown Brothers, hand coloring by Lorene Ward, (r)LOC/Corbis; 125

(tl)Peabody Essex Museum, Salem MA, (tr)H. Armstrong Roberts, (b)NWPA; 126(t)Stock Montage/SS, (b)CB; 127(c)CI, (others) NWPA; 128(t)National Portrait Gallery, Washington DC/AR, (b)CB; 129(t)file photo, (b)CB; 135AH; 138Courtesy Arte Publico Press; 139 Reproducción autorizada por el Instituto Nacional De Belles Artes Y Literatura. ? 2000 Reproducción autorizada por el Banco de México?Museu de Arte, Sao Paulo, Brazil; 144Giraudon/AR; 145 Larry Moore/SIS; 146National Portrait Gallery, Smithsonian Institution/AR; 147VA Historical Society; 151Photodisc; 154AP; 155Jim Barber; 156Stock Montage; 160Scala/AR; 161 Smithsonian Institution; 163Ronald Sheridan/Ancient Art & Architecture; 164The Trustees of the National Museums of Scotland; 168H. Armstrong Roberts; 170Yale University Art Gallery, New Haven CT; 176Engraving published by Archibald Bell in 1773, LOC; 177AH; 182(b)Smithsonian Institution; 183, 184 The White House Collection, ?White House Historical Association; 187Courtesy Mystic Seaport; 188The Royal Albert Memorial Musem, Exeter/BAL; 189National Maritime Museum, London/BAL; 191FMWPC; 192Courtesy Tom Feelings. From The Middle Passage,White Ships/Black Cargo,?1995 Dial Books; 193The Newberry Library/Stock Montage;

201Courtesy Robin Holder; 202CB; 203Cleveland Museum of Art. Mr. & Mrs. William H. Marlatt Fund, 1967.18; 204 Breck P.

Kent/Earth Scenes; 205(l) Photo Researchers, (r)John

Gerlach/Animals Animals; 208The Ogden Museum of Southern Art, University of New Orleans; 212The Fine Arts Museums of San Francisco. Gift of Mr. & Mrs. John D. Rockefeller III. 1979.7.84; 216 The Simpsons? and ?Twentieth Century Fox Film Corporation. All rights reserved; 218National Academy, New York; 219National Gallery of Art. Gift of Mrs. Walter B. James; 221The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan; 224AP; 225 The PA Academy of the Fine Arts, Philadelphia. Gift of Caroline Gison Taitt; 226Private collection/SS; 229David M. Dennis; 230 FPG; 232CI; 235CB; 236Dallas Museum of Art; 238AP; 239By permission of the Houghton Library, Harvard University. Shelf mark MS Am 1280H, vol. 918, pp. 68, 69; 240SS; 246National Portrait Gallery, London/SS; 247Bruce Satterthwaite; 250CB; 251LOC; 254CI; 257, 262Charles Philip/Corbis Los Angeles; 264H. Armstrong Roberts; 267National Museum of American Art, Washington DC/AR; 268NWPA; 273The Hartford Times; 278 (t)Middle East News Agency, (b)CI; 279Sotheby’s; 281Amanita Pictures; 283NWPA; 285CB; 286David David Gallery, Phila-delphia/SS; 287CI; 293Courtesy William Morrow & Company and R. Michelson Galleries; 295Courtesy Christa Naher, photo by Lothar Schnepf; 299Eric van den Brulle/Photonica; 300Bowes Museum, Co. Durham, UK/BAL; 307Steve Eichner/Retna Ltd; 313 LPBC/AH; 316, 317Private collection, photo courtesy Robert M. Hicklin Jr., Inc., Spartanburg SC; 318The Museum of the Confederacy, Richmond VA, photo by Katherine Wetzel; 320

(t)Mark Burnett; (inset)LOC/Corbis, (bl)National Portrait Gallery, Smithsonian Institution, Washington DC/AR, (br)CB; 321(t)Mary Evans Picture Library, (bl)National Gallery of Art, Washington DC, (br)file photo; 322(tl)from the collection of Edith Hariton/Antique Textile Resource, Bethesda, MD, (tr)file photo, (c)LOC, (b)National Portrait Gallery, Smithsonian Institution/AR; 323CB; 324(t)E.T. Archive, (b)NWPA; 325(t)AP, (b)CB, hand coloring by Lorene Ward; 326(t)Mark Twain Memorial, Hartford CT, (b)LOC/Corbis; 327The Seventh Regiment Fund, Inc., photograph courtesy The Metropolitan Museum of Art, New York; 328Corbis; 331Hampton University Museum, Hampton VA; 336Collection of the Blue Ridge Institute & Museums/Ferrum College; 337National Museum of American Art, Washington DC/AR; 338, 339Hampton University Museum, Hampton VA; 342(t)Frank Driggs/AP, (b)David

Redfern/Retna; 343NASA; 344AP; 345Hampton University Museum, Hampton VA/?Elizabeth Catlett/Licensed by VAGA, New York, NY; 348Larry Moore/SIS; 350CB; 355Doug Martin;

356National Portrait Gallery, Smithsonian Institution/AR;

357Corbis, hand coloring by Lorene Ward; 359CB; 360Museum of the Confederacy, Richmond VA; 362West Point Museum Collections, U.S. Military Academy; 363Cook Collection, Valentine Museum, Richmond VA; 364High Impact Photography/Time Life Books; 367CB; 368The Metropolitan Museum of Art, New York. Gift of Mr. and Mrs. John A. Rutherford, 1914. (14.141);

369(l)Time Life, (r)SS; 370CB; 372Courtesy Rodrigue Studios; 376The Detroit Institute of Arts. Founders Society Purchase, Merrill Fund; 379British Film Institute; 381From a painting by Asa W. Twitchell/CB; 382Gene Ahren/Bruce Colemman Inc.; 384CB; 385David Muench/Corbis; 388Courtesy Tran Mong Tu;

389Francis Bailly/Gamma Liaison; 391David Muench/Corbis; 397NWPA; 400Assoc. Press Photo/Eric Miller; 401Collection of Walt Whitman House, NJ State Historic Site, Camden NJ;

402Museum of the Confederacy; Larry Sherer/Time Life Books, High Impact Photography; 403The St. Louis Art Museum;

404Peter Sickles/SS; 406Archival Research International/

National Archives; 407The Brooklyn Museum of Art, New York. Dick S. Ramsay Fund 59.9; 409The Metropolitan Museum of Art, New York. Gift of Thomas Kensett; 411The Columbus Museum of Art, Columbus OH. Museum Purchase, Howald Fund; 414Brooklyn

ACKNOWLEDGMENTS

Museum, New York/SS; 419Private collection/CI; 421CI; 423CB; 424Trustees of Amherst College; 425Private collection/CI;

426Shiko Nakano/Photonica; 428Fine Arts Museums of San Francisco. Gift of Mr. and Mrs. John D. Rockefeller III. 1993.35.20; 429Collection of the Birmingham Museum of Art, Birmingham AL. Gift of John Meyer; 431Jane Vollers/Photonica; 432Tony Crad-dock/TSI; 435Heath Robbins/Photonica; 436CI; 445LPBC/AH; 448–449National Gallery of Art, Washington DC. Gift of the W.L. and May T. Mellon Foundation; 450(l)CA State Railroad Museum, Sacramento/SS, (r)file photo; 451Culver Pictures; 452CB; 453(l) Culver Pictures, (others)file photo; 454(t)CB, (b)CI; 455(t)NWPA, (b)The Metropolitan Museum of Art, New York/SS; 456(tl)Culver Pictures, (tr)CI, (bl)CB, (br)Amanita Pictures; 457(t)Culver Pictures, hand coloring by Lorene Ward, (b)painting by Isaac Radu, 1903. Photo: Archivio G.B.B./G. Neri/Woodfin Camp & Assoc.;

458(l)CB, (r)LOC, hand coloring by Lorene Ward; 459The Fine Arts Museums of San Francisco. Gift of the Charles E. Merrill Trust with matching funds from The de Young Museum Society; 460AP; 461North Wind Pictures; 462Mark Burnett; 463(t)Mark Burnett, (b)Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of Joseph H. Hirshhorn; 464LOC; 465Museum of the City of New York/BAL; 466SS; 471John Netherton;

474UPI/CB; 475FMWPC; 476SS; 478Roy Bishop/Stock Boston; 481file photo; 483The Columbus Museum of Art, Columbus OH. Bequest of Frederick W. Schumacher; 487J. Goldblatt/Globe Photos; 488(l)courtesy Thames & Hudson Inc., (r)private collec-tion/BAL; 490, 491Courtesy Thames & Hudson Inc.; 494Larry Moore/SIS; 496AP; 497CB; 498Cavalry Club/E.T. Archive/SS; 500Biophoto Assoc./Photo Researchers; 503Tom Stock/TSI;

505Photodisc; 507Berhard Otto/FPG; 508Giraudon/AR;

513National Portrait Gallery, Washington DC/AR; 514?1979 Howard Terpning, courtesy The Greenwich Workshop Inc., Shelton CT. For information on limited edition fine art prints by Howard Terpning call 1-800-577-0666; 517(t)MN Historical Society/Corbis, (b)LOC/Corbis; 519The Philbrook Museum of Art, Tulsa OK; 523 MO Historical Society; 524 file photo; 525The Butler Institute of American Art; 530LOC/Corbis; 531Ira Nowinski/Corbis; 532The Hayden Collection, courtesy Museum of Fine Arts, Boston;

532–533AH; 534David David Gallery, Philadelphia/SS;

535NWPA; 537file photo; 538Museum of Fine Arts, Boston. Charles Henry Hayden Fund; 542AP; 543University of Rochester, photo by Joe Gawlowicz; 544National Museum of American Art, Washington DC/AR; 546CB; 547The Museum of Modern Art, New York. Philip L. Goodwin Collection; 548The Museums at Stony Brook, NY; 552(t)FPG, (b)ME Historic Preservation Commission; 553Portland Museum of Art, Portland ME; 557AP; 558The New York Journal;559Private collection/CI; 563 Collection Mr. & Mrs. Robert A. Kopp Jr., courtesy Mrs. Carol McAdoo; 566National Museum of American Art, Washington

DC/AR; 572Fischbach Gallery, NY; 583LPBC/AH; 586–587 National Gallery of Art, Washington DC. Collection of Mr. and Mrs. Paul Mellon; 588CB; 589FPG; 590(l)Underwood & Underwood/ CB, (r)UPI/CB; 591(l)courtesy AZ Historical Society, Tucson. AHS# 69493–Luisa Ronstadt Espinel, c. 1921, (r)PNI; 592(t)James Westwater, (c)FMWPC, (b)UPI/CB; 593(tl)by permission of the Houghton Library, Harvard University, (tr)The Metropolitan Museum of Art, New York. Bequest of Gertrude Stein, 1947, (b)Schomburg Center for Research in Black Culture; 594(tl)CI, (tr)AP, (b)FPG; 595(t)Wide World Photos, (bl)AP, (br)Photofest/Jagarts;

596(l)FPG, (r)CI; 597Museum of Modern Art, New York. Abby Aldrich Rockefeller Fund; 598, 599CB; 602Hulton Getty/TSI;

603LOC; 610Collection of the Newark Museum. Anonymous gift, 1929. (cat. No. 55); 612UPI/CB; 613Courtesy Frank Jensen,photo by Marlin Carter; 614Kenneth Gabrielson Photography/ Gamma Liaison; 616(t)CB, (b)Carr Clifton/Minden Pictures;

617LOC/Corbis; 619Peter Gridley/FPG; 620CB; 621Collection, Hirschl & Adler Galleries; 623E.T. Archive, London/SS;626CI; 627Photodisc;631LOC/Corbis; 635UPI/CB; 638CB; 639Private collection; 640Collection of The Newark Museum. Purchase, 1939. Felix Fuld Bequest Fund. (cat. No. 22); 642Culver/PNI; 643CI; 645Wide World Photos; 646UPI/CB; 647The Metropolitan Museum of Art, New York. Gift of Georgia O’Keeffe through the generosity of The Georgia O’Keeffe Foundation and Jennifer and Joseph Duke, 1997; 650PhotoAssist/AP; 651Hulton-Deutsch Collection/Corbis; 654CB; 659CI; 662Private collection/BAL, London/SS; 669Yousuf Karsh/Woodfin Camp & Assoc.;

670LOC/Corbis; 671, 672UPI/CB; 674LOC/Corbis; 675, 676 Philip Gould/Corbis; 678Karsh/Woodfin Camp & Assoc.; 679 file photo/The Kansas City Star.Reprinted by permission; 683Scala/ AR; 688AP; 692National Gallery, London/SS; 694CB; 695Walter Bibikow/FPG; 697Yale University Art Gallery, New Haven CT. Gift of Walter Bareiss, B.A. 1940; 698Geir Jordahl/Graphistock;

701Museum of Fine Arts, Boston. Abraham Shuman Fund (1970.47);703Collection of Harrison Young, Beijing, China. Reproduced in Spirit of Place by John Arthur; 710A. Corton/Visuals Unlimited; 711Larry Moore/SIS; 717The Schomburg Center for Research in Black Culture, The New York Public Library. Photo: Manu Sassoonian;718FPG; 719LOC/Corbis; 720Private collection. Courtesy Terry Dintenfass Gallery, New York; 723National Portrait Gallery, Smithsonian Institution/AR; 724Photograph owned by Louise Franklin. Courtesy The Association to Preserve the Eatonville; 725Philadelphia Museum of Art: The Louis E. Stern Collection; 727Anne Heimann/The Stock Market; 728Geoff Butler;

733National Portrait Gallery, Smithsonian Institution/AR;

734Collection of Martin & Sondra Sperber, New York. Courtesy Heritage Gallery, Los Angeles; 735Private collection/SS;

738National Portrait Gallery, Smithsonian Institution/AR;

739Penguin/CB; 740Collection of Harry Belafonte. Courtesy Heritage Gallery, Los Angeles; 741Tom Till/DRK Photo; 744Peter Jordan/Network/SABA; 745CI; 751(t)The Beinecke Rare Book and Manuscript Library, Yale University, (b)National Museum of American Art, Smithsonian Institution, Washington DC/AR; 752 (t)UPI/CB, (b)George Lepp/Corbis; 753Sheldon Ross Gallery, Birmingham MI; 754The Harmon and Harriet Foundation for the Arts, San Antonio TX; 756(l)Wide World Photos, (r)The Amistad Research Center, Tulane University, New Orleans; 757Frank & Marie-Therese Wood Print Collections, Alexandria VA; 759National Museum of American Art, Washington DC/AR; 767LPBC/AH; 770 SAFECO Insurance Company, Seattle WA. Courtesy the artist and the Francine Seders Gallery, Seattle WA; 772CB; 773Hulton Getty Collection/Liaison Agency; 774(t)Camerique/AP, (c)FPG, (b)Wide World Photos; 775(t)CB, (c)UPI/CB, (b)Everett Collection; 776 (tl)AH, (tr)Jon Hammer/AP, (b)Walter Sanders/Life Magazine

?Time, Inc.; 777(t)Willinger/FPG,(bl)Wide World Photos,

(br)Geoff Butler; 778(tl)Hulton Getty Collection/Liaison Agency, (tr)CI, (bl)Geoff Butler, (br)UPI/CB; 779(t)B. Gotfryd/Woodfin Camp & Assoc., (b)AH; 780(t)AP, (b)Hulton Getty

Collection/Liaison Agency; 781The Lucy Drake Marlow Collection Trust; 782National Portrait Gallery, Smithsonian Institution. Gift of Irving Penn. Courtesy Vogue. ?1948 (renewed 1976) by The Conde Nast Publications Inc./AR; 783David Findlay Jr. Fine Art, New York/BAL; 784(t)Clay Perry/Corbis, (b)NWPA; 787Jeff Greenberg/Photo Researchers; 790The Stock Market; 791 Sovfoto/Eastfoto; 792Kactus Foto, Santiago, Chile/SS;

796CB; 797Everett Collection; 798, 799UPI/CB; 802Cofield Collection, Center for the Study of Southern Culture, University of

ACKNOWLEDGMENTS

MS; 803Ted Spiegel/Corbis; 804First Image; 805The Art Institute of Chicago. Frank Russell Wadsworth Memorial; 808 SS;

809Columbus Museum of Art, Columbus OH; 811First Image; 816Hulton Getty/Gamma Liaison; 817Private collection. Courtesy Tibor de Nagy Gallery, New York; 820, 821AP; 823Schomburg Center for Research in Black Culture, The New York Public Library; 827Lo?s Mailou Jones Pierre-Noel Trust; 830Bob Gomel/The Stock Market; 831, 833, 834, 837, 838Department of Archives and History; 842The Contemporary Forum. Photo by Bill Tague; 843 National Portrait Gallery/AR; 844Courtesy Raymond McGuire; 846B. Gotfryd/Woodfin Camp & Assoc.; 847Private collection/CI/ SS; 850Courtesy Arte Publico Press; 851Scala/AR, (bkgd)cour-tesy Robert C Buitrón; 853Courtesy Robert C. Buitrón; 855Geoff Butler; 856(t)Wide World Photos, (b)Hulton-Deutsch Collection/ Corbis; 857Baldwin H. Ward/CB; 860Nancy Crampton;

863Richard Kalvar/Magnum Photos; 864UPI/CB; 865Gwen Akin/Graphistock; 866Jonathan Taylor Photography/Uniphoto; 868E.C. Stangler/Uniphoto; 869LOC/Corbis; 874David

Lee/Corbis; 875The Brooklyn Museum, New York; 878Marcus Gilden Collection; 881NWPA; 883Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of Joseph H. Hirshhorn, May 14, 1981. Photo by Lee Stalsworth; 885PNI;

890Flip Schulke/Corbis; 891Danny Lyon/Magnum Photos. From the book Memories of the Southern Civil Rights Movement;

892Courtesy Reginald Gammon; 893Culver Pictures; 896F. Capri/Saga/AP; 897Aristock, Inc.; 898Collection of the artist;

907Museum of the City of New York, Theatre Collection; 910FPG; 911UPI/CB; 912Thomas Lindley/FPG; 913Daniel Root/ Photonica, (inset)Gjon Mili/Life Magazine ?Time, Inc.; 914Daniel Root/Photonica; 921Gjon Mili/Time Life Syndicate; 924Sande Webster Gallery, Philadelphia, PA; 927Solomon R. Guggenheim Museum, New York. 54.1408; 930Courtesy SBC Communications; 933Gjon Mili/Life Magazine ?Time, Inc.; 937Daniel Root/ Photonica; 939The Museum of Modern Art, New York. Purchase/?2000 Willem de Kooning Revocable Trust/Artists Rights Society (ARS), New York; 944Gjon Mili/Life Magazine ?Time, Inc.;

948The Lane Collection, courtesy Museum of Fine Arts, Boston; 952Albright-Knox Art Gallery, Buffalo, NY. Gift of Seymour H. Knox, 1957; 954Courtesy The Robert Miller Gallery, NY/?2000 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York;

958Daniel Root/Photonica; 963Sande Webster Gallery, Phila-delphia PA; 969, 972Gjon Mili/Life Magazine ?Time, Inc.;

977Estate of Elaine DeKooning; 981Daniel Root/Photonica;

982Gayle Ray/SS; 989The Lane Collection, courtesy Museum of Fine Arts, Boston; 992, 994Gjon Mili/Life Magazine ?Time, Inc.; 998Nancy Crampton; 999Collection of Jonathan Demme;

1000Amanita Pictures; 1001Collection of Astrid and Halvor Jaeger, Neu-Ulm, West Germany; 1005Yale University Art Gallery, New Haven CT. Gift of Seldon Rodman; 1008 Gjon Mili/Life Magazine ?Time, Inc.; 1009Larry Moore/SIS; 1015LPBC/AH; 1018The Stock Market; 1020NASA; 1021Wayne Miller/Magnum Photos; 1022(t)Hulton Getty/Gamma Liaison, (c)AP, (bl)H. Armstrong Roberts, (br)John Coletti/Stock Boston; 1023(t)Gerald Israel/AP, (bl)UPI/CB, (br)Paul Natkin/Outline; 1024(tl)AH,

(tr)Amanita Pictures, (b)Dan Lamont/Corbis; 1025(t)Cynthia Farah, (b)Tim Wright/Corbis; 1026 (tl)Diana Walker/Gamma Liaison, (tr bl)AH; (br)James D. Wilson/Gamma Liaison; 1027(t)AH, (b)J. Lowenthal/Woodfin Camp & Assoc.; 1027(tl)AH, (tr)Bob Peterson/FPG, (c)Geoff Butler, (b)Ian Lloyd/Corbis Los Angeles;1030 Daniel Cima; 1031UPI/CB; 1034Miriam Berkley; 1035CB; 1037 SS; 1039Phil Schermeister/Corbis; 1041NWPA; 1044Calvin & Hobbes ?1995 Watterson. Reprinted with permission of UNIVER-SAL PRESS SYNDICATE. All rights reserved; 1045Levine/Gamma Liaison; 1046Jerry Cooke/Corbis; 1047The St. Louis Art Museum; 1052Nancy Crampton. 1055, 1058Courtesy N. Scott Momaday; 1059Animals Animals/Bates Littlehales; 1062Miriam Berkley; 1064Collection National Guard Bureau, Pentagon, Washington DC. From the original painting by Mort Kunstler. ?1984 Mort Kunstler, Inc.; 1066 Jonathan Nourok/PhotoEdit; 1067Color Box/FPG; 1072Barry Kleider; 1074Photodisc; 1075Tony Arruza/Corbis; 1077Sophie Bassouls/Sygma; 1079The Cummer Museum of Art and Gardens, Jacksonville, FL/SS; 1082(t)John Eddy, (b)Hawaiian Legacy Archive/Pacific Stock; 1083CI; 1085Photodisc;

1086James M. Kelly/Globe Photos; 1087Whitney Museum of American Art, New York; 1089UPI/CB; 1093Francis Miller/Life Magazine ?Time, Inc.; 1096J. Michael Short; 1097The Cleveland Museum of Art. Gift of Mrs. Malcolm L. McBride; 1100 Courtesy Alfred A. Knopf Inc. Photo by Shuzo Uemoto; 1101Collection of Michael D. Brown; 1103Richard Hutchings/PhotoEdit;

1104Collection of Yo Kasai; 1105Terry Ashe/Gamma Liaison; 1106Corry/AP; 1108(l)Nancy Crampton, (r)Arte Publico Press. Photo by George McInnis; 1109Telluride Gallery of Fine Art;

1110CI; 1117SS; 1118Nancy Crampton; 1119Minnetrista Cultural Center & Oakhurst Gardens, Muncie IN; 1122Vince Cavataio/Pacific Stock; 1122, 1123Art Wolfe/TSI; 1123Kelvin Aitken/Peter Arnold, Inc.; 1124Wide World Photos; 1125Minne-apolis Institute of Arts. Gift of the Regis Corporation, W. John Driscoll, and the Beim Foundation; the Larsen Fund; and by Public Subscription. ?1999 The Georgia O’Keeffe Foundation; 1127Walt Disney Company/Gamma Liaison; 1128 Nancy Crampton; 1129 Michael Barson Collection/Past Perfect; 1134Margot Granitsas Archives/The Image Works; 1135SS; 1138 Michael Barson Collection/Past Perfect; 1139UPI/CB;1140Margo

Weinstein/Swanstock; 1142(t)Wide World Photos,(b)Culver Pictures; 1143Courtesy Benny Alba; 1145CB; 1146Hampton University Museum, Hampton VA; 1149Courtesy Coffee House Press, photo by William Lewis; 1150Private collection of Sylvia Asturias; 1152Courtesy Arte Publico Press; 1153Courtesy Susan Stewart, photo by Pascale Productions; 1156(tl)Cynthia Farah, (tr)Gordon Robotham, courtesy of Diana Chang, (b)Ansel Adams Publishing Rights Trust/Corbis; 1157Philadelphia Museum of Art, The Alfred Stieglitz Collection; 1158David David Gallery/SS;

1160Robert Severi/Gamma Liaison; 1161CB; 1162Collection of the Artist/Elizabeth Heuer/SS; 1164(t)Patrick “Pato” Hebert,

(b)Kevin Laubacher/FPG; 1165Steve Kahn/FPG; 1167Courtesy Maria Herrera-Sobek; 1169Gallery Contemporanea, Jacksonville, FL/SS; 1171Larry Moore/SIS; 1172Cynthia Farah; 1173AH; 1174CI; 1176(l)courtesy Rita Magdaleno, (r)Miriam Berkley; 1177Courtesy Nordén Auktioner AB, photo by Hans Winter;

1178Kactus Foto/SS; 1180Christopher Little/Outline;

1181Courtesy Louise Erdrich, c/o Rembar and Curtis, (bkgd) William Self/Photonica; 1183(t)Peter Harholdt/SS, (b)Richard B. Spencer/SS; 1188Cydney Conger/Corbis Los Angeles;

1189(t)Miriam Berkley, (b)LOC/Corbis; 1190?1976 Helen Hardin, photo ?2000 Cradoc Bagshaw; 1196(l)courtesy Alma Luz Villanueva, (r)Bettina Larrude, courtesy Children’s Press;

1197Telegraph Colour Library/FPG; 1198Danny Lehman/Corbis; 1205LPBC/AH.

人教版高中语文课本教材作文素材(完整版)

一、《烛之武退秦师》 ●素材开发烛之武三朝为官，满腹经纶，却一直不得重用，其间他忍受的寂寞痛苦的煎熬，是常人难以想象的。但烛之武并没有自暴自弃、妄自菲薄，而是以惊人的毅力在寂寞中图强，饱读诗书，关心时事，指点江山，激扬文字，终于在人生的最后时刻，也是最为关键的时刻，“不飞则已，一飞冲天；不鸣则已，一鸣惊人”，完成人生的最后一击，为自己的一生画上了一个完美的感叹号。 ●思维激活这则材料可用于与“磨砺”、“逆境中奋起”、“人生储备”等有关命运的话题和材料作文中。运用时我们可以这样论述：生活是一块磨刀石，只有不断砥砺自己，才能保持永远锐利的锋芒。时代铸就英雄，烛之武的时代早已过去，但烛之武的人生之路，至少还启示着今天的我们，不论你经历了哪些挫折，不论你是否怀才不遇，只要是金子，你总会发光的。 ●想象画面型—— (提示：发挥想象，营造诗意优美的画面是夺人目光的有效妙招！) 夜缒而出是夜，万籁俱寂，黯淡的月光中，烛之武凭借一条粗陋的绳索，艰难地顺墙而下，迈着蹒跚的脚步走向秦营。这是艰难而伟大的一步啊，一步迈出，就迈向了有去无回的危险，迈向了生死难料的险途，迈向了虎视眈眈的虎狼之窝。满头的白发飘扬在深秋的寒风中。在这国家生死存亡的危急关头，“我不入地狱，谁入地狱”，国将不存，何以家为？于是他前行的蹒跚脚步更加镇定。今夜的月光啊，照耀着一个老人执著前行的身影，照耀着一颗慷慨赴难的爱国之心！ ●心理描写型—— (提示：心理描写是最能直接塑造人物性格的方法之一！) 深明大义烛光依旧阑珊，而他的内心却久久不能平静，他的生命就像这烛光，虽然现在明亮，可能在不经意的那一刻黯然熄灭。他的一生平淡如水，虽然平凡，但也算充实。可是自己总觉得应该在生命的最后时刻涂下生命的光彩一笔，来昭示自己的才华与抱负。他还在踌躇，曾经自己那么恨他，怨他，他让自己失去了少年的雄心壮志，失去了中年的忠心诚意。而现在，在自己垂暮之时，他却说：郑国需要我…… 烛光摇曳不定，仿佛自己风雨飘摇中的祖国，又像自己摇摆不定的心事…… 烛光又是一阵摇晃，烛之武挺身而起，犹豫的神色代之以满脸的镇定，他迈步而出，毅然走向秦营！ ●思辨议论型—— (提示：辩证地议论分析，条清理析，深刻有力！) 思考，换个角度当烛之武坚定的脚步踏在通往秦营的道路上时，秦穆公已端坐在营帐之中，摆开了咄咄逼人的架势。假如烛之武开口便是“郑国怎么怎么重要”，“郑人如何如何勇敢，不畏强敌”，那么遗留下的将是他殷红的鲜血和郑国在诸侯版图上的消失。但是，烛之武没有那样，他换了一个角度。他大度地站到了秦国的立场上，处处为秦国的利益着想。不仅使自己化险为夷，更是在黑云压城的危急关头力挽狂澜，使郑国在战争的风暴之中得以保全。烛之武用勇敢的行动向我们再一次表明：换一个角度思考，你将得到一片崭新的天地。二、《荆轲刺秦王》 ●素材开发 “风萧萧兮易水寒，壮士一去兮不复还”，易水送别，荆轲刺秦，慷慨悲歌，大义凛然，千百年来激励了多少志士仁人赴汤蹈火，义无反顾。 ●思维激活当荆轲义无反顾踏上刺秦之路，耳边响起“风萧萧兮易水寒，壮士一去兮不复还”时，是何等的壮烈。渴望壮烈可以说是一种积极的人生态度。此材料适用于“壮烈”“诚信”“责任”等话题作文 ●思辨议论型——不朽的壮烈壮烈，不因生命的短暂而改变；壮烈也不因地位的卑下而贬值。壮烈就是壮烈，壮烈的人生谁都有权拥有。人生一世犹如草木一秋，理应为这个世界留下些绿色。卓尔不群的泰山睥睨群峰，让人赞叹唏嘘；汪洋恣肆的长江啸傲百川，让人扼腕击节；屈大夫不随流俗而沉汨罗，让人一酹江月；司马迁忍大辱而著《史记》，让人高山仰止；当谭嗣同引颈就戮菜市口，高吟“有心杀贼，无力回天，死得其所，快哉快哉”时，又是何等的壮烈！生命之花，只要开得灿烂，开得辉煌，花期长短又何足道哉！ ●记叙抒情型——当他逝去的时候风萧萧兮易水寒，荆轲立于山头茫然凝视远方。马啾啾兮燕山苍，众人表情肃然，音乐的旋律戛然而止，高渐离悲壮的击筑声从此打住，众人起立敬送。太子丹为他饯行，奉觞端酒，深深一拜，然后高举过顶，眼中满含着热泪，声音哽咽着说：“先生，燕国全靠你了……”荆轲接酒一饮而尽，上马扬鞭而去。秦国雄师挥戈东向，他们一举扫灭了韩国、魏国、赵国，一时间，秦国的兵锋直指弱小的燕国。燕国地处塞北，兵弱民穷，难于抵御秦国的虎狼之师，一战之后，燕王率师仓皇而逃。太子丹一腔热血发誓救国，他携重金求到自己门下，一掷千金，赠良田，赐美姬，声泪俱下，痛陈亡国之祸迫在眉睫。自那个时刻起，自己为了报答太子的知遇之恩，救黎民于水火，闭门谢客，下决心苦练剑法。无论严寒，无论酷署，每日闻鸡起舞，练至深夜。虽说技艺大进，但身赴险地，强弱悬殊，吉凶难料！但为了燕国的百姓免于兵戈之祸，我必须一搏，但愿天佑燕国！想到这里，荆轲微马前行，急忙赶路。三、《鸿门宴》 ●素材开发 “力拔山兮气盖世”的项羽却败在了“无赖”刘三的手下，鸿门宴不能不说是一个转折点。鸿门宴上项羽不听亚父之言，不从亚父之计，刚愎自用，意气用事，放虎归山，导致楚的大好局势葬送；而刘邦却能听从张良的计策，尊重项伯的安排，甚至还采纳樊哙的建议，依靠众人的力量成功脱身，这是他走向成功的第一步。 ●思辨议论型—— (提示：辩证地议论分析，条清理析，深刻有力！) 谈意气在棋盘上拼杀，楚河汉界分明，我会自然地想起楚王项羽与汉王刘邦。鸿门宴上的仁慈，乌江岸边的自刎，让更多的人倒向项羽；鸿门宴上的刘邦，似乎只是个小人，很少有人听一听“大风起兮云飞扬” 的高唱便会热血沸腾。可历史证明了刘邦比项羽更能成就一番大业。是他的大汉王朝，让张骞扶着驼铃 1

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