shorter selections

  1. genre that John Steinbeck’s The Grapes of Wrath exemplifies
    working‐class literature (ULRG:53,1,1)
  2. another name for working‐class literature
    proletarian literature (ULRG:53,1,1)
  3. shorter selections author who was the most avowedly radical
    Meridel Le Sueur (ULRG:53,1,2)
  4. amount of time Meridel Le Sueur remained a member of the Communist Party USA
    her entire life (ULRG:53,1,2)
  5. 1935 conference where Meridel Le Sueur was the only female to speak
    the American Writers’ Congress (ULRG; 53,1,2)
  6. two authors from this year’s Shorter Selections who attended the 1935 American Writers’ Congress
    Meridel Le Sueur and Langston Hughes (ULRG:53,1,2)
  7. Which did Meridel Le Sueur value more, her art or holding true to the Communist Party beliefs?
    her art (ULRG:53,1,3)
  8. three themes in The Grapes of Wrath that are anticipated by Meridel Le Sueur’s work in Salute to Spring
    solidarity among the working class, the belief in dignity, and the unquenchable human spirit (ULRG:53,1,3)
  9. reason that Carl Sandburg did not participate in the Federal Writers Project
    he was too well‐established/well‐known (ULRG:53,2,1)
  10. How did Carl Sandburg’s political views change from the 1920s to the 1930s?
    became increasingly less radical (ULRG:53,2,1)
  11. “the public poet of the thirties”
    Carl Sandburg (ULRG:53,2,2)
  12. What organization was Langston Hughes falsely accused of associating with in the 1950s?
    the Communist Party USA (ULRG:53,2,3)
  13. senator who required Langston Hughes to testify before the Senate Permanent Subcommittee on Investigations in 1953
    Joseph McCarthy (ULRG:53,2,3)
  14. poem that Langston Hughes argued had been misunderstood during his testimony to the Senate in 1953
    “Goodbye Christ” (ULRG:53,2,3)
  15. two shorter selections authors who suffered the most from American anti‐Communist backlash during the 1950s
    Meridel Le Sueur and Langston Hughes (ULRG:54,1,1)
  16. people Hughes said gave him the material for his work, without which “there would have been no poems”
    African Americans (ULRG:54,1,1)
  17. two shorter selections authors who were important participants in the Harlem Renaissance movement
    Zora Neale Hurston and Langston Hughes (ULRG:54,1,2)
  18. number of writers the Federal Writers’ Project supported at its peak
    about 6,500 (ULRG:54)
  19. group Langston Hughes added to John Steinbeck’s portrait of the dispossessed farm worker in order to expand it
    racial “others” (ULRG:54,1,1)
  20. viewpoint regarding African Americans’ place in society Zora Neale Hurston emphatically rejected
    African Americans as perpetually victimized (ULRG:54,2,1)
  21. shorter selections author who wrote, “I am the eternal feminine with its string of beads”
    Zora Neale Hurston (ULRG:54,2,1)
  22. literary genre of William Faulkner’s work
    high modernism (ULRG:54,2,2)
  23. social groups William Faulkner belonged to
    landowners and farmers (ULRG:54,2,3)
  24. social group that is the focus of much of William Faulkner’s 1930s fiction
    southern sharecroppers (ULRG:54,2,3)
  25. William Faulkner’s character who echoes his ambiguous social position
    Colonel Sartoris Snopes (ULRG:54,2,3)
  26. way in which Colonel Sartoris Snopes’s name reflects his ambiguous positioning within Southern society
    He is named after a Confederate war hero, but is the member of a poor sharecropping family. (ULRG:54,2,3)
  27. social group Faulkner ultimately sympathizes with in his fiction (in contrast to John Steinbeck)
    the southern landowners. (ULRG:55,1,1)
  28. social group John Steinbeck ultimately sympathizes with in his fiction (in contrast to William Faulkner)
    the migrant sharecroppers (ULRG:55,1,1)
  29. literary family Studs Terkel recalls in Hard Times
    the Joads (ULRG:55,1,2)
  30. shorter selections author who offers a Mexican‐American parallel to the Joads’ family story
    César Chávez (ULRG:55,1,2)
  31. degree Studs Terkel graduated with in 1934
    law (ULRG:55,1,3)
  32. amount of time Studs Terkel practiced law for before beginning his career as a writer
    never practiced as a lawyer (ULRG:55,1,3)
  33. shorter selections author Studs Terkel specifically cites as a model for his work
    Zora Neale Hurston (ULRG:55,2,1)
  34. TWO other mediums Studs Terkel wrote and performed in during his lifetime
    radio and television (ULRG:55,2,1)
  35. group that blacklisted Studs Terkel from television and film work in the 1930s
    the McCarthy Committee (ULRG:55,2,2)
  36. 1930s‐era politician who was Studs Terkel’s hero
    “Battling Bob” La Follette (ULRG:56,1,0)
  37. honor Studs Terkel was awarded in 1997 for “significant contributions to the nation’s cultural life”
    the National Humanities Medal (ULRG:56,1,1)
  38. 1940 report that informed Studs Terkel and John Steinbeck’s works about migrant workers during the Great Depression
    the La Follette Commission Report Violations of Free Speech and Rights of Labor (ULRG:56,1,0)
  39. viewpoint Studs Terkel preferred to write history from
    the bottom up (ULRG:56,1,1)
  40. John Steinbeck novel Studs Terkel recorded for National Public Radio in 1989
    The Grapes of Wrath (ULRG:56,2,1)
  41. group Studs Terkel believed could “accomplish more than any individual does, no matter how strong he may be”
    the community in action (ULRG:56,2,1)
  42. revolutionary patriot cited in the works of Studs Terkel and John Steinbeck
    Thomas Paine (ULRG:56,2,2)
  43. shared belief that connects John Steinbeck’s The Grapes of Wrath and Studs Terkel’s Hard Times
    belief in the greatness of the human family (ULRG:56,2,3)
  44. group Studs Terkel viewed as suffering continuously from the Great Depression through the supposedly prosperous 1980s
    family farmers (ULRG:56,2,3)
  45. phrase Studs Terkel used to raise alarm about similarities between the economic environments of the 1930s and 1986
    “Then and now” (ULRG:56,2,3)
  46. number of people who contributed to Hard Times
    approximately 160 (ULRG:56,2,4)
  47. Beatles’ song Studs Terkel references as a title chapter and epigraph in Hard Times
    “Sgt. Pepper’s Lonely Hearts Club Band” (ULRG:57,1,0)
  48. influential 1930s jazz singer whose songs are referenced throughout Hard Times
    Billie Holiday (ULRG:57,1,1)
  49. novel Studs Terkel cites in discussing the validity of Hard Times
    John Steinbeck’s The Grapes of Wrath (ULRG:57,2,1)
  50. movie starring Judy Garland and featuring lyrics written by Yip Harburg
    The Wizard of Oz (ULRG:57)
  51. famous composer friend of Yip Harburg
    Ira Gershwin (ULRG:57,2,2)
  52. instrument the narrator of “Brother, Can You Spare a Dime?” says he carried
    the drum (ULRG:57)
  53. event the khaki suits and half a million boots in “Brother, Can You Spare a Dime?” refer to
    World War I (ULRG:57)
  54. sole possession Yip Harburg was left with after the financial collapse of 1929
    a pencil (ULRG:57,2,1)
  55. writing tool Yip Harburg found when he lost his possessions
    his creativity (ULRG:57,2,4)
  56. occupation Yip Harburg refers to as “the greatest fantasy”
    business (ULRG:57,2,5)
  57. occupation Yip Harburg claims is the only realistic way of making a living
    “versifying” (ULRG:57.2,5)
  58. famous European geographical formation Yip Harburg compares American business to
    the Rock of Gibraltar (ULRG:57,2,6)
  59. person who owned the biggest breadline in New York City
    William Randolph Hearst (ULRG:58,1,1)
  60. name of Yip Harburg’s 1930 show satirizing Hearst’s breadline
    Americana (ULRG:58,1,2)
  61. phrase Yip Harburg cites as the “prevailing greeting” of the 1930s
    “Can you spare a dime?” (ULRG:58,1,4)
  62. political party that was worried about the political implications of “Brother, Can You Spare a Dime”
    the Republican Party (ULRG:58,1,8)
  63. organization César Chávez was president of
    the United Farm Workers of America (UFWA) (ULRG:58)
  64. group that was excluded from many of the benefits provided by the New Deal
    agricultural workers (ULRG:58)
  65. César Chávez’s age when his family first lost their house
    six (ULRG:58,2,1)
  66. reason that César Chávez ’s family was forced to vacate their home in California
    bank foreclosure on their loan (ULRG:58,2,2)
  67. hope that César Chávez ’s father never gave up
    owning land again (ULRG:59,1,1)
  68. reason that César Chávez and his siblings missed a lot of school
    “following the crops” as migrant workers (ULRG:59,1,4)
  69. three types of produce César Chávez mentions picking in California
    apricots, walnuts, and prunes (ULRG:59,1,4)
  70. kind of people César Chávez describes as being “bait” for the labor contractor
    families traveling with all of their belongings in the car without a trailer (ULRG:59,1,5)
  71. place where César Chávez’s family was forced to live in San Jose
    under a bridge (ULRG:59,1,6)
  72. way in which César Chávez’s family got tricked in Fresno
    labor contractor took their wages and left town (ULRG:59,1,8)
  73. how often the migrant labor strikes were successful, according to César Chávez
    they never won (ULRG:59,2,3)
  74. reason that César Chávez’s father got thrown out of a diner in Indio, California
    they only served whites (ULRG:59,2,5)
  75. cost of a hamburger during Cesar Chavez’s childhood
    seven cents (ULRG:60,1,1)
  76. migrant workers’ name for the Anglo part of town in Cesar Chavez’s childhood
    “the American town” (ULRG:60,1,1)
  77. way in which César Chávez made money after school in Brawley
    shoe‐shining (ULRG:60,1,1)
  78. amount of time for which César Chávez estimates he attended school in a year
    five months (ULRG:60,1,4)
  79. number of elementary school César Chávez attended from first to eighth grade
    thirty‐seven (ULRG:60,1,4)
  80. reason that the waitress in Brawley refused to sell César Chávez a hamburger
    he was “Mexican” (ULRG:60,1,2)
  81. What job did César Chávez suspect people questioning him as having?
    a cop or a social worker (ULRG:60,1,5)
  82. gesture by one of César Chávez’s teachers that left a life‐long impression on him
    she drove to visit her migrant students at camp one day (ULRG:60,1,5)
  83. reason that César Chávez does not want to forget some of his painful childhood memories
    they are the truth (ULRG:60,1,6)
  84. way in which César Chávez views the waitress in Brawley who refused to serve him
    as not meaning to be cruel, but hurting him nonetheless (ULRG:60,1,3)
  85. way in which César Chávez describes history
    as the truth (ULRG:60,1,6)
  86. event Yip Harburg believes caused him to “find” his creativity
    losing all of his possessions during the Depression (ULRG:60,2,1)
  87. precise way in which Yip Harburg describes the man asking for a dime during the Depression
    as “a dignified human, asking questions—and a bit outraged, too, as he should be” (ULRG:60,2,1)
  88. song Yip Harburg performed on Studs Terkel’s radio show in 1973
    “Brother, Can You Spare a Dime?” (ULRG:61,1,0)
  89. At what event did Studs Terkel conduct his interview with César Chávez?
    at a labor union organizational meeting in Chicago (ULRG:61,1,1)
  90. fictional family that César Chávez’s family can be compared to
    the Joads (ULRG:61,1,2)
  91. state César Chávez’s family lived in prior to becoming migrant workers
    Arizona (ULRG:61,1,2)
  92. method used to force both the Joads and César Chávez’s family off of their land
    “tractoring” them out (ULRG:61,1,2)
  93. place where Meridel Le Sueur claims the greatest poetry can be found
    “[in] the people” (ULRG:61)
  94. way in which style of Meridel Le Sueur’s work differs from that of César Chávez, Yip Harburg and Studs Terkel
    written in the present tense (ULRG:61,2,1)
  95. way in which Meridel Le Sueur’s grandmother was a pioneer
    she was one of the first people to settle the Oklahoma territory (ULRG:62,1,1)
  96. three subjects Meridel Le Sueur’s mother lectured widely on
    women’s rights, birth control, and suffragism (ULRG:62,1,1)
  97. state Meridel Le Sueur was born in
    Iowa (ULRG:62,1,1)
  98. group Meridel Le Sueur grew up surrounded by
    socialist (ULRG:62,1,1)
  99. job Meridel Le Sueur briefly held in Hollywood during her young adulthood
    actress in silent pictures (ULRG:62,1,1)
  100. choice made by Meridel Le Sueur that other women in the Communist Party disapproved of
    her decision to have children (ULRG:62,1,2)
  101. her decision to have children (ULRG:62,1,2)
    her pregnancy (ULRG:62,1,2)
  102. relationship that prompted Meridel Le Sueur to realize the “superiority of … collective feeling”
    her relationship with her daughters (ULRG:62,1,2)
  103. magazine Meridel Le Sueur worked for during the Great Depression
    New Masses (ULRG:62,1,3)
  104. subject of Meridel Le Sueur’s short story “I Was Marching”
    a truck drivers’ strike in Minneapolis (ULRG:62,1,3)
  105. subjects of Meridel Le Sueur’s 1930s biographies
    ordinary men and women (ULRG:62,1,3)
  106. literary genre of the story “I Was Marching”
    reportage (ULRG:62,1,3)
  107. title of Meridel Le Sueur’s 1940 collection of reportage and short fiction
    A Salute to Spring (ULRG:62,1,3)
  108. two famous authors who praised Meridel Le Sueur’s A Salute to Spring
    Carl Sandburg and Sinclair Lewis (ULRG:62,1,3)
  109. reason Meridel Le Sueur was prevented from publishing and working during the Cold War
    membership in the Communist party (ULRG:62,1,4)
  110. audience attracted to Meridel Le Sueur’s work in the post‐Cold War years
    feminist scholars (ULRG:62,1,4)
  111. Meridel Le Sueur’s 1978 novel
    The Girl (ULRG:62,1,4)
  112. number of decades Meridel Le Sueur waited before finally seeing her first novel entirely in print
    four (1930s to 1970s) (ULRG:62,1,4)
  113. comprehensive 1982 anthology of Meridel Le Sueur’s work
    Ripening: Selected Work (ULRG:62,1,4)
  114. goal of documentary reportage during the 1930s
    capturing life in the Great Depression while also critiquing its human cost (ULRG:62,2,0)
  115. type of nonfiction reportage is best described as
    imaginative (ULRG:62,2,0)
  116. genre Meridel Le Sueur is best known for writing in
    reportage (ULRG:62,2,0)
  117. two elements of journalism incorporated into reportage
    realism of expression and power of observation (ULRG:62,2,0)
  118. three elements of fiction incorporated into reportage
    depiction of character, the use of figurative language, and the development of narrative structure (ULRG:62,2,0)
  119. anthology in which “Women on the Breadlines” is found
    Ripening: Selected Work (ULRG:62)
  120. year “Women on the Breadlines” was first published
    1932 (ULRG:62)
  121. How does the narrator of “Women on the Breadlines” identify herself as female?
    states that she is sitting in the woman’s section of the city’s free employment bureau (ULRG:62,2,1)
  122. How does hunger affect people, according to the narrator of “Women on the Breadlines”?
    makes them lapse into a state of lethargy (ULRG:62,2,1)
  123. aspect of “city hunger” that is especially upsetting to the narrator in “Women on the Breadlines”
    human beings going hungry without protest despite being surrounded by wealth (ULRG:62,2,1)
  124. season none of the women in “Women on the Breadlines” dare to think about
    the coming winter (ULRG:63,1,1)
  125. how the narrator of “Women on the Breadlines” explicitly describes hunger
    “…like the beak of a terrible bird at the vitals” (ULRG:63,1,0)
  126. Why do the women in “Women on the Breadline” avoid looking directly at each other?
    They do not want to confront the fearful reality that there is no work. (ULRG:63,1,1)
  127. three characteristics for which the woman sitting inside the iron cage in “Women on the Breadline” is described like a bird
    She is thin, sharp, and has a hard little eye. (ULRG:63,1,2)
  128. reason that the faces of the other women in “Women on the Breadline” seem familiar
    They wait there everyday. (ULRG:63,1,2)
  129. setting of “Women on the Breadline”
    a domestic employment bureau (ULRG:63,1,3)
  130. three characteristics needed to receive help from charities in “Women on the Breadline”
    a lick‐spittle manner, docility, and cunning (ULRG:63,1,3)
  131. How do proud women live in “Women on the Breadline”?
    starve silently, look for work during the day, and wrestle with children and house at night (ULRG:63,1,3)
  132. place from where there is a great exodus of girls into the city in “Women on the Breadline”
    the farms (ULRG:63,1,4)
  133. belief Bernice finds hard to understand in “Women on the Breadline”
    that trickery is worth more than brawn (ULRG:63,1,5)
  134. place Bernice lived before she came to the city in “Women on the Breadline”
    a Wisconsin farm (ULRG:63,1,5)
  135. two ways in which Bernice passes her days in “Women on the Breadline”
    shopping or going to picture shows (ULRG:63,1,5)
  136. person who took advantage of Bernice as soon as she arrived in the city in “Women on the Breadline”
    a charlatan dentist (ULRG:63,2,1)
  137. four techniques men in the park teach Bernice in “Women on the Breadline”
    get what she can for nothing, count her change, go back if she should find herself cheated, and demand her rights (ULRG:63,2,1)
  138. Why does Bernice remain single in “Women on the Breadline”?
    She sees how her married friends are worn out taking care of their children. (ULRG:63,2,3)
  139. amount of money Bernice saved in fifteen years of work in “Women on the Breadline”
    $30 (ULRG:63,2,3)
  140. amount of time it took Bernice to spend her life’s savings during the Depression in “Women on the Breadline”
    1 year (ULRG:63,2,3)
  141. two places Bernice dreamed of owning in “Women on the Breadline”
    a little house or houseboat with chickens (ULRG:63,2,3)
  142. reason that the woman at the Young Women’s Christian Association has nightmares in “Women on the Breadline”
    all the suffering she sees (ULRG:64,1,0)
  143. How does Ellen earn food and money in “Women on the Breadline”?
    showing her legs (ULRG:64,1,3)
  144. reason that people in “Women on the Breadline” do not save their money
    having money makes people too excited and they spend it quickly (ULRG:64,1,5)
  145. asset that a woman is lucky to sell for fifty cents in “Women on the Breadline”
    her body (ULRG:64,1,6)
  146. asset that is very difficult and humiliating to sell in “Women on the Breadline”
    one’s body (ULRG:64,2,1)
  147. asset that is even more humiliating to sell than one’s body in “Women on the Breadline”
    one’s labor (ULRG:64,2,2)
  148. mystery that remains unexplained in “Women on the Breadline”
    where women go when they are out of work and hungry (ULRG:64,2,4)
  149. resource that hungry men have that women do not have in “Women on the Breadline”
    flop houses (ULRG:64,2,4)
  150. kind of people charities take care of in “Women on the Breadline”
    “deserving” people (ULRG:64,2,5)
  151. kind of person that women running charities are suspicious of in “Women on the Breadline”
    the lone girl (ULRG:64,2,5)
  152. kind of people young girls always turn to for money in “Women on the Breadline”
    men willing to buy their company for a dime (ULRG:65,1,4)
  153. kind of people women always ask for help in “Women on the Breadline”
    men (ULRG:65,1,4)
  154. kind of people women rarely ask for help in “Women on the Breadline”
    other women (ULRG:65,1,4)
  155. how a woman acts unless she has dependents in “Women on the Breadline”
    starves and suffers in isolation, without asking for help or trying to get a job (ULRG:65,1,1)
  156. future that awaits the women waiting for work in “Women on the Breadline”
    starvation and humiliation (ULRG:65,1,7)
  157. two conditions under which Mrs. Gray can feel like a human being again in “Women on the Breadline”
    no longer hungry and cold (ULRG:65,1,9)
  158. type of suffering the young reject in “Women on the Breadline”
    the suffering of endless labor without dreams (ULRG:65,2,7)
  159. Meridel Le Sueur’s first published piece of reportage
    “Women on the Breadlines” (ULRG:65,2,8)
  160. effect Meridel Le Sueur was trying to achieve in “Women on the Breadline”
    to make the reader see, hear, and feel each event being observed and reported (ULRG:65,2,8)
  161. number of unemployed women in 1932
    three million (ULRG:65,2,8)
  162. Meridel Le Sueur’s work that was excluded from the Communist Party’s 1930 publication of Salute to Spring
    “Women on the Breadline” (ULRG:66,1,2)
  163. result of suffering, according to Meridel Le Sueur
    solidarity (ULRG:66,1,1)
  164. how Meridel Le Sueur viewed the New Masses editors
    as male supremacists (ULRG:66,1,1)
  165. reason that the editors of New Masses criticized “Women on the Breadline”
    too defeatist, lacking in revolutionary spirit and direction (ULRG:66,1,0)
  166. Meridel Le Sueur’s view of women’s role in society
    as nurturers of family and society (ULRG:66,2,1)
  167. How is the title of “Women on the Breadlines” misleading?
    there are barely any women in the breadline (ULRG:66,2,2)
  168. How did Meridel Le Sueur help the women she wrote about during the Great Depression?
    she made their situation visible (ULRG:66,2,3)
  169. characteristic shared by the three women described in “Women on the Breadline”
    none of them is supported by a man (ULRG:67,1,1)
  170. How does the narrator of “Women on the Breadline” show her similarity to the other women in the bureau?
    shifting from the “I” to “we” viewpoint (ULRG:66,2,3)
  171. literary structure created by the three women in “Women on the Breadline”
    a triptych (ULRG:67,1,1)
  172. manner in which “Women on the Breadlines describes Bernice’s story”
    comparing the stories to embroidery (ULRG:67,1,3)
  173. renowned anthropologist who was also Zora Neale Hurston’s teacher
    Franz Boas (ULRG:68,1,1)
  174. literary movement Zora Neale Hurston was a part of
    the Harlem Renaissance (ULRG:68,1,1)
  175. period during which Zora Neale Hurston was the most prolific black woman writer in the United States
    from the 1930s to the 1960s (ULRG:68,1,1)
  176. surprising characteristic of Zora Neale Hurston’s original grave
    was unmarked (ULRG:68,1,1)
  177. amount of time Zora Neale Hurston’s work had been out of print when she died in 1960
    twelve years (since 1948) (ULRG:68,1,1)
  178. movement alongside which Zora Neale Hurston’s work returned to prominence
    vthe Civil Rights movement (ULRG:68,1,1)
  179. contemporary author who is largely responsible for the rediscovery of Zora Neale Hurston’s work
    Alice Walker (ULRG:68,1,1)
  180. year in which Alice Walker begin searching for Zora Neale Hurston’s grave
    1973 (ULRG:68,1,1)
  181. mistake Alice Walker made when inscribing Zora Neale Hurston’s gravestone
    wrong year of birth (ULRG:68,1,2)
  182. THREE professions listed on Zora Neale Hurston’s gravestone
    novelist, folklorist, and anthropologist (ULRG:68,1,1)
  183. place Zora Neale Hurston was most likely born
    Notasulga, Alabama (ULRG:68,1,2)
  184. town Zora Neale Hurston claimed to have been born in
    Eatonville, Florida (ULRG:68,1,2)
  185. Zora Neale Hurston’s 1942 autobiography
    Dust Tracks on a Road (ULRG:68,1,2)
  186. two former occupations of Zora Neale Hurston’s father
    slave and sharecropper (ULRG:68,1,2)
  187. class Zora Neale Hurston’s mother came from
    landowning family (ULRG:68,1,2)
  188. Zora Neale Hurston’s parent who can best be described as “marrying up”
    her father (ULRG:68,1,2)
  189. two ways in which Eatonville, Florida was unique when it became incorporated in 1887
    self‐governing and all black. (ULRG:68,1,2)
  190. place Zora Neale Hurston went after her mother’s death in 1904
    boarding school (ULRG:68,2,1)
  191. place Zora Neale Hurston went after leaving boarding school
    Baltimore (ULRG:68,2,1)
  192. university Zora Neale Hurston attended
    Howard University (ULRG:68,2,1)
  193. year in which Zora Neale Hurston published her first short story
    1924 (ULRG:68,2,2)
  194. year in which Zora Neale Hurston moved to New York City
    1925 (ULRG:68,2,2)
  195. group Zora Neale Hurston met and joined shortly after moving to New York City
    the “new Negroes” (ULRG:68,2,2)
  196. two shorter selections authors who were members of the “new Negroes”
    Langston Hughes and Zora Neale Hurston (ULRG:69,1,0)
  197. place many African Americans migrating north in the early 20th century settled
    Harlem (ULRG:69,1,0)
  198. artistic movement the “new Negroes” were the literary core of
    the Harlem Renaissance (ULRG:69,1,0)
  199. year in which the Harlem Renaissance began
    1917 (ULRG:69,1,1)
  200. founding belief of the Harlem Renaissance
    African‐Americans could prove that they were the artistic and intellectual equals of whites (ULRG:69,1,1)
  201. year the Harlem Renaissance ended
    1935 (URLG:69,1,1)
  202. Eugene O’Neill play that exemplifies the early stages of the Harlem Renaissance
    Emperor Jones (URLG:69,1,1)
  203. New York college that Zora Neale Hurston attended
    Barnard College (URLG:69,1,2)
  204. specific type of author and subject involved in the early phases of the Harlem Renaissance
    white authors writing about black people (URLG:69,1,3)
  205. ideology of later phases of the Harlem Renaissance
    black artists rebelling against black stereotypes and asserting the uniqueness of black artistic expression (URLG:69,1,2)
  206. place Franz Boas encouraged Zora Neale Hurston to perform field work
    Eatonville, Florida (URLG:69,1,2)
  207. influential professor who Zora Neale Hurston encountered at Barnard College
    Franz Boas (URLG:69,1,2)
  208. three characteristics of Delia from Zora Neale Hurston’s short story “Sweat”
    strong, independent, and a survivor (URLG:69,1,2)
  209. two symbolic meanings of the snake in Zora Neale Hurston’s short story “Sweat”
    traditional symbol of evil and a phallic stand‐in (URLG:69,1,2)
  210. type of conflict Zora Neale Hurston explored in her short story “Sweat”
    domestic violence (URLG:69,1,2)
  211. How does the abusive husband in “Sweat” meet his demise?
    bit by the poisonous snake he was trying to kill his wife with (URLG:69,1,2)
  212. anthropological project Zora Neale Hurston worked on in the late 1920s
    collecting African‐American folklore in the South (URLG:69,1,3)
  213. reason that Zora Neale Hurston was unable to interview rural African‐Americans in the late 1920s South
    was shunned for her Barnard (college‐educated) accent (URLG:69,1,3)
  214. white patron of Zora Neale Hurston’s second anthropological visit to the South
    Charlotte Osgood Mason (URLG:69,1,3)
  215. subject Charlotte Osgood Mason was interested in that she saw in Zora Neale Hurston’s work
    primitivism (URLG:69,1,3)
  216. amount of time Zora Neale Hurston carried out her study of African‐American folklore in the South
    four years (1927‐1931) (URLG:69,1,3)
  217. two authors who collaborated to produce the play Mule Bone: A Comedy of Negro Life in 1930
    Langston Hughes and Zora Neale Hurston (URLG:69,1,3)
  218. author who filed for sole copyright of Mule Bone: A Comedy of Negro Life after creative differences resulted in a rift
    Zora Neale Hurston (URLG:69,1,3)
  219. collection to which Zora Neale Hurston was asked to contribute folklore in 1931
    Nancy Cunard’s Negro: An Anthology (URLG:69,1,3)
  220. number of Zora Neale Hurston’s essays used in Negro: An Anthology
    six (URLG:69,1,3)
  221. number of folktale texts included in the 1935 publication of Zora Neale Hurston’s full body of work
    70 (URLG:69,1,3)
  222. book containing all of Zora Neale Hurston’s African‐American folktale texts
    Mules and Men (URLG:69,1,3)
  223. year in which Mules and Men was published
    1935 (URLG:69,1,3)
  224. 1933 short fiction considered to be Zora Neale Hurston’s best
    “The Gilded Six‐Bits” (URLG:69,1,4)
  225. publishing company interested in Zora Neale Hurston after the publication of “The Gilded Six‐Bits”
    Lippincott Publishers (URLG:69,2,1)
  226. lie Zora Neale Hurston told Lippincott Publishers in 1933
    that she had already written a novel (URLG:69,2,1)
  227. Zora Neale Hurston’s first novel
    Jonah’s Gourd Vine (URLG:69,2,1)
  228. person who wrote the foreword to Lippincot’s 1935 publication of Mules and Men
    Franz Boas (URLG:69,2,1)
  229. distinction Jonah’s Gourd Vine received
    Book‐of‐the‐Month Club selection (URLG:69,2,1)
  230. fellowship Zora Neale Hurston received to travel to Haiti and Jamaica in 1936
    a Guggenheim fellowship (URLG:69,2,2)
  231. Zora Neale Hurston’s second collection of folklore texts
    Tell My Horse (URLG:69,2,2)
  232. countries whose folklore is found in Zora Neale Hurston’s Tell My Horse
    Haiti and Jamaica (URLG:69,2,2)
  233. number of weeks it took Zora Neale Hurston to write Their Eyes Were Watching God
    seven weeks (URLG:69,2,2)
  234. personal experience that inspired Zora Neale Hurston to write Their Eyes Were Watching God
    a brief and intense affair with a younger man (URLG:69,2,2)
  235. dialect the characters of Their Eyes Were Watching God speak
    Southern Florida (URLG:69,2,2)
  236. two characteristics of Janie, the protagonist of Zora Neale Hurston’s Their Eyes Were Watching God
    strong and independent (URLG:69,2,2)
  237. year in which Their Eyes Were Watching God was published
    1937 (URLG:69,2,2)
  238. division of the Work Project Administration Zora Neale Hurston worked for in 1935
    the Federal Writers Project (URLG:69,2,3)
  239. state travel guide Zora Neale Hurston edited for the Federal Writers’ Project
    Florida (URLG:69,2,3
  240. influential political figure who was a strong supporter of the Federal Writers’ Project
    Eleanor Roosevelt (URLG:69,2,3)
  241. larger legislative initiative the Federal Writers’ Project was created under
    the New Deal (URLG:69,2,3)
  242. unusual aspect of the Federal Writers’ Project’s hiring standards
    banned racial discrimination (URLG:69,2,3)
  243. five contemporaries of Zora Neale Hurston in the Federal Writers’ Project
    Arna Bontemps, Claude McKay, Ralph Ellison, Margaret Walker, and Richard Wright (URLG:69,2,3)
  244. novel written by Ralph Ellison while working for the Federal Writers’ Project
    The Invisible Man (URLG:69,2,3)
  245. other works accomplished by Zora Neale Hurston while editing the FWP Florida state guide
    She collected songs, stories, and slave narratives. (URLG:69,2,3)
  246. unpublished manuscript Zora Neale Hurston wrote based on her time in Florida during the 1930s
    The Florida Negro (URLG:69,2,4)
  247. Zora Neale Hurston’s third novel
    Moses, Man of the Mountain (URLG:69,2,4)
  248. three literary genres Moses, Man of the Mountain uses in reworking the legend of Moses
    fiction, folklore, and comedy (URLG:69,2,4)
  249. year in which Zora Neale Hurston’s autobiography was published
    1942 (URLG:69,2,4)
  250. reason that Zora Neale Hurston’s autobiography is sometimes referred to as the “best fiction she ever wrote”
    Zora Neale Hurston tended to embellish her own life story for narrative effect. (URLG:69,2,4)
  251. Zora Neale Hurston’s last novel
    Seraph on the Suwanee (URLG:69,2,5)
  252. scandal Zora Neale Hurston was involved in during the release of her last novel
    She was arrested and charged with indecency with a minor. (URLG:69,2,5)
  253. age of the boy Zora Neale Hurston was accused of committing indecencies with in 1948
    ten years old (URLG:70,1,0)
  254. proof Zora Neale Hurston gave against her 1948 indecency charges
    She was out of the country when the alleged acts were committed. (URLG:70,1,0)
  255. three jobs Zora Neale Hurston held during the 1950s
    librarian, maid, teacher (URLG:70,1,0)
  256. medical condition Zora Neale Hurston suffered from in 1959
    a debilitating stroke (URLG:70,1,0)
  257. two living conditions under which Zora Neale Hurston died in 1960
    in poverty, in a welfare home (URLG:70,1,0)
  258. way in which Zora Neale Hurston differed from many of her contemporaries in her political views
    not a Communist party member and did not advocate a leftist position (URLG:70,1,1)
  259. type of literature Zora Neale Hurston avoided writing
    “protest” literature (URLG:70,1,1)
  260. ideology Zora Neale Hurston was deeply committed to
    individualism (URLG:70,1,1)
  261. type of black life and culture Zora Neale Hurston wanted to celebrate in her work
    the positive aspects (URLG:70,1,1)
  262. conservative depiction of the African American that Zora Neale Hurston objected to
    as happily picking his banjo (URLG:70,1,1)
  263. liberal depiction of the African‐American that Zora Neale Hurston objected to
    as low, miserable, and crying (URLG:70,1,1)
  264. way in which Zora Neale Hurston believed that Communists misunderstood African Americans
    saw them as downtrodden Russian peasants, incapable of becoming more than a subjugated mass (URLG:70,1,2)
  265. two aspects of society Zora Neale Hurston believed Communism threatened to destroy
    the arts and politics (URLG:70,1,3)
  266. name Zora Neale Hurston gave to pro‐Communist literature
    “social document fiction” (URLG:70,1,3)
  267. result Zora Neale Hurston believed came out of efforts to defend Communism in African‐American literature
    an overlooking of the subtleties of African‐American life (URLG:70,1,3)
  268. way in which Zora Neale Hurston’s criticism of the New Deal was disingenuous
    she herself was employed by a New Deal program (URLG:70,1,3)
  269. three reasons Zora Neale Hurston opposed the ruling in Brown v. Board of Education
    believed it would interfere with individual liberty, would end traditional black schools, and would force an unwanted proximity between the races (URLG:70,1,4)
  270. Zora Neale Hurston’s magazine article criticizing Communist manipulation of African Americans
    “Why the Negro Won’t Buy Communism” (URLG:70,1,4)
  271. Zora Neale Hurston’s article arguing against the ruling in Brown v. Board of Education
    “Court Order Can’t Make Races Mix” (URLG:70,1,4)
  272. four aspects that contribute to “something happy” about the home in “The Gilded Six‐Bits”
    flowers, white‐washed fence and house, scrubbed porch and steps, and front door open to the sunshine (URLG:70,2,3)
  273. protagonist of “The Gilded Six‐Bits”
    Missie May (URLG:70,2,5)
  274. way in which the dialogue in “The Gilded Six‐Bits” is distinctive
    written phonetically to capture the local dialect (URLG:70,2,7)
  275. way in which Zora Neale Hurston specifies the setting of “The Gilded Six‐Bits”
    by placing “Negro” in front of all the objects mentioned in the setting (URLG:75,1,1)
  276. town “The Gilded Six‐Bits” is set in
    Eatonville, Florida (URLG:75,1,1)
  277. way in which Zora Neale Hurston creates a link between blackness and cleanness in “The Gilded Six‐Bits”
    emphasizing the white‐washed house, porch, steps, and decorated yard (URLG:75,1,1)
  278. way in which the narrator’s voice differs from the voices of the characters in “The Gilded Six‐Bits”
    characters speak in a southern African‐American dialect, while the narrator speaks in standard English (URLG:75,2,2)
  279. way in which Zora Neale Hurston uses dialect to depict racial difference in “The Gilded Six‐Bits”
    African‐Americans pronounce “I” as “Ah” while whites do not, though both groups should have similar Southern pronunciation (URLG:75,2,3)
  280. two natural elements Zora Neale Hurston uses to transform “The Gilded Six‐Bits” into more of an epic tale
    the sun and the moon (URLG:75,2,4)
  281. way in which Zora Neale Hurston foreshadows the fight between Joe and Slemmons in “The Gilded Six‐Bits”
    by describing the sun as “challenging” and flinging a “flaming sword” (URLG:75,2,4)
  282. real‐life objects respectively symbolized by the sun and moon in “The Gilded Six‐Bits”
    gold and silver coins (URLG:76,2,1)
  283. real‐life event that likely inspired Zora Neale Hurston’s meditations on the value of gold and silver coins in “The Gilded Six‐Bits”
    Roosevelt abandoning the gold standard in 1933 (URLG:76,2,2)
  284. reason that Franklin D. Roosevelt needed to abandon the gold standard
    limited amount of gold (URLG:76,2,1)
  285. place where American gold was kept after the gold standard was dropped
    accumulated in the Federal Reserve (URLG:76,2,2)
  286. way in which the value of paper money changed as a result of dropping the gold standard
    greatly inflated value (URLG:76,2,2)
  287. two outcomes the government hoped would result from the inflated value of paper money
    rise in prices and the stabilization of the economy (URLG:76,2,2)
  288. likely symbolism of Slemmons’ gilded coins in “The Gilded Six‐Bits”
    gold’s sudden loss of its absolute value (URLG:76,2,3)
  289. racial association gold carries in “The Gilded Six‐Bits”
    only white people had gold (URLG:76,2,3)
  290. type of money associated with African‐Americans in “The Gilded Six‐Bits”
    silver coins (URLG:76,2,3)
  291. Why is Missy May and Joe’s living situation in “The Gilded Six‐Bits” odd for the time?
    It is the middle of the Depression, yet they seem to be financially secure. (URLG:76,2,4)
  292. objects representing the counterfeit in “The Gilded Six‐Bits”
    the gilded six‐bits (ULRG:77,1,1)
  293. emotion perceived as most real in “The Gilded Six‐Bits”
    Missy May and Joe’s love for each other and their child (ULRG:77,1,1)
  294. father of Missy May’s child in “The Gilded Six‐Bits”
    remains ambiguous as to whether it is Joe (ULRG:77,1,1)
  295. reason that William Faulkner believed that man is immortal
    “[he] has a soul” (ULRG:77,1)
  296. year in which stories by William Faulkner and Zora Neale Hurston appeared in the same issue of Story magazine
    1933 (ULRG:77,1,2)
  297. person William Faulkner believed was the author of “The Gilded Six‐Bits”
    Eudora Welty (ULRG:77,1,2)
  298. Zora Neale Hurston story that left a profound impression upon William Faulkner
    “The Gilded Six‐Bits” (ULRG:77,1,2)
  299. year in which William Faulkner won the Nobel Prize in Literature
    1949 (ULRG:77,1,3)
  300. author from this year’s curriculum commemorated by William Faulkner in his Nobel Prize acceptance speech
    John Steinbeck (ULRG:77,1,3)
  301. year in which John Steinbeck won the Nobel Prize in Literature
    1962 (ULRG:77,1,3)
  302. number of Americans who had won the Nobel Prize in Literature prior to William Faulkner
    four (ULRG:77,2,1)
  303. year in which William Faulkner was born
    1897 (ULRG:77,2,2)
  304. state William Faulkner was born in
    Mississippi (ULRG:77,2,2)
  305. For how long had William Faulkner’s family been living in Mississippi at the time of his birth?
    Since before the Civil War. (ULRG:77,2,2)
  306. nickname of William Faulkner’s great‐grandfather
    “Old Colonel” (ULRG:77,2,2)
  307. two Civil War militias William Faulkner’s great‐grandfather commanded
    the Magnolia Rifles and the Partisan Rangers (ULRG:77,2,2)
  308. way in which “Old Colonel’s” military success helped William Faulkner’s family after the war
    allowed them to accumulate wealth and become members of the southern “aristocracy” (ULRG:77,2,2)
  309. initial spelling of William Faulkner’s name
    Falkner (ULRG:77,2,2)
  310. university William Faulkner attended
    the University of Mississippi, “Ole Miss” (ULRG:77,2,2)
  311. medium William Faulkner’s work was first published in
    art (drawing) (ULRG:77,2,2)
  312. first publication to carry William Faulkner’s work
    his college yearbook (ULRG:77,2,2)
  313. branch of the military that rejected William Faulkner during World War I
    the Air Force (ULRG:77,2,2)
  314. country William Faulkner fought under in World War I
    Canada (ULRG:77,2,2)
  315. amount of time William Faulkner served with the Canadian Royal Air Force
    one month (ULRG:77,2,2)
  316. time period when William Faulkner changed the spelling of his last name
    during World War I (ULRG:77,2,2)
  317. reason thatfor William Faulkner changinge the spelling of his last name
    create a fake British identity that would allow him to fly with the Canadian Royal Air Force (ULRG:77,2,2)
  318. location of William Faulkner’s family home
    Oxford, Mississippi (ULRG:77,2,3)
  319. reason that William Faulkner left the University of Mississippi in 1920
    to focus on writing (ULRG:77,2,3)
  320. two cities William Faulkner lived in during the early 1920s
    New York and Oxford (ULRG:77,2,3)
  321. city in which William Faulkner lived for most of the 1920s
    New Orleans (ULRG:77,2,3)
  322. William Faulkner’s mentor in New Orleans
    Sherwood Anderson (ULRG:77,2,3)
  323. William Faulkner’s first novel
    Soldier’s Pay (ULRG:77,2,3)
  324. literary journal William Faulkner wrote for in New Orleans
    Double Dealer (ULRG:77,2,3)
  325. newspaper William Faulkner wrote for in New Orleans
    Times‐Picayune (ULRG:77,2,3)
  326. two Southern cities William Faulkner lived in simultaneously during the late 1920s
    Oxford, Mississippi and Pascagoula, Mississippi (ULRG:77,2,3)
  327. William Faulkner’s second novel
    Mosquitoes (ULRG:77,2,3)
  328. year in which William Faulkner’s Mosquitoes was published
    1927 (ULRG:77,2,3)
  329. setting of William Faulkner’s novel Mosquitoes
    New Orleans (ULRG:77,2,3)
  330. William Faulkner’s third novel
    Flags in the Dust (ULRG:77,2,3)
  331. abridged version of William Faulkner’s Flags in the Dust
    Sartoris (ULRG:77,2,3)
  332. year in which William Faulkner’s novel Flags in the Dust was published
    1929 (ULRG:77,2,3)
  333. novel William Faulkner began writing in 1928
    The Sound and the Fury (ULRG:77,2,4)
  334. William Faulkner’s wife
    Estelle Oldham Franklin (ULRG:77,2,4)
  335. year in which William Faulkner married Estelle Oldham Franklin
    1929 (ULRG:77,2,4)
  336. reason thatfor William Faulkner waiting until 1929 to get married
    his future wife’s divorce needed to get finalized (ULRG:77,2,4)
  337. means by which William Faulkner earned a living during the Great Depression
    writing (ULRG:78,1,0)
  338. event that dampened sales of The Sound and the Fury upon its publication
    the economic downturn of 1929 (ULRG:78,1,0)
  339. William Faulkner’s view of The Sound and the Fury
    a “grand failure” (ULRG:78,1,0)
  340. novel did William Faulkner wrote primarily in order to earn money
    Sanctuary (ULRG:78,1,1)
  341. reason that William Faulkner’s editor delayed publication of Sanctuary
    it was too shocking (ULRG:78,1,1)
  342. novel William Faulkner wrote in order to demonstrate his technical virtuosity
    As I Lay Dying (ULRG:78,1,2)
  343. family in As I Lay Dying
    the Bundrens (ULRG:78,2,0)
  344. way in which the Bundrens in As I Lay Dying are similar to the Joads in The Grapes of Wrath
    both are poor, lower‐class families (ULRG:78,2,0)
  345. ways in which the Bundrens in As I Lay Dying differ from the Compsons in The Sound and the Fury
    the Compsons are upper‐class, while the Bundrens are lower‐class (ULRG:78,2,0)
  346. number of short stories William Faulkner had accepted for publication between 1930 and 1931
    twenty (ULRG:78,2,1)
  347. William Faulkner’s 1930 breakthrough short story
    “A Rose for Emily” (ULRG:78,2,1)
  348. How was William Faulkner’s short story “Thrift” significant?
    It earned him more money than any of his previous novels. (ULRG:78,2,1)
  349. original name of William Faulkner’s southern mansion home
    Shegog Place (ULRG:78,2,2)
  350. name William Faulkner gave to his southern mansion home
    Rowan Oak (ULRG:78,2,2)
  351. William Faulkner’s first daughter
    Alabama Faulkner (ULRG:78,2,2)
  352. four established writers who began to take note of William Faulkner in 1931
    Dashell Hammett, Lillian Hellman, Dorothy Parker, and Nathanael West (ULRG:78,2,2)
  353. reason thatfor William Faulkner’s continued financial difficulties in 1931
    costs of renovating his mansion exceeded his income from writing (ULRG:78,2,2)
  354. company that offered William Faulkner a job in 1932
    MGM Studios (ULRG:78,2,3)
  355. film William Faulkner was hired to write the screenplay for in 1932
    Today We Live (ULRG:78,2,3)
  356. novel William Faulkner was hired to write a screenplay of in 1932
    Sanctuary (ULRG:78,2,3)
  357. studio that hired William Faulkner to write a screenplay in 1932
    Paramount (ULRG:78,2,3)
  358. luxury William Faulkner was able to purchase with his Hollywood salary
    an airplane (ULRG:78,2,3)
  359. William Faulkner’s second daughter
    Jill Faulkner (ULRG:78,2,3)
  360. amount William Faulkner earned in total in the late 1930s
    $20,000 (ULRG:78,2,4)
  361. William Faulkner’s ninth novel
    Absalom, Absalom! (ULRG:78,2,4)
  362. fictional county featured in William Faulkner’s The Sound and the Fury and Absalom, Absalom!
    Yoknapatawpha (ULRG:78,2,4)
  363. novel considered by most critics to be William Faulkner’s masterpiece
    Absalom, Absalom! (ULRG:78,2,4)
  364. year in which Absalom, Absalom! was published
    1936 (ULRG:79,1,1)
  365. William Faulkner’s 1942 collection of short stories
    Go Down, Moses (ULRG:79,1,1)
  366. year in which William Faulkner was elected to the Academy of Art and Letters
    1948 (ULRG:79,1,1)
  367. only novel published by William Faulkner in 1948
    Intruder in the Dust (ULRG:79,1,1)
  368. novel published by William Faulkner in 1938
    The Unvanquished (ULRG:79,1,1)
  369. novel published by William Faulkner in 1939
    The Wild Palms (ULRG:79,1,1)
  370. novel published by William Faulkner in 1940
    The Hamlet (ULRG:79,1,1)
  371. three countries William Faulkner traveled to in the 1940s for the State Department
    Japan, Europe and Iceland (ULRG:79,1,2)
  372. university where William Faulkner served as the writer in residence in 1957
    University of Virginia (ULRG:79,1,2)
  373. year in which William Faulkner became the writer in residence at the University of Virginia
    1957 (ULRG:79,1,2)
  374. trilogy William Faulkner’s novel The Town and The Mansion completes
    The Snopes Trilogy (ULRG:79,1,2)
  375. William Faulkner’s final novel
    The Reivers (ULRG:79,1,2)
  376. cause of William Faulkner’s death
    heart failure (ULRG:79,1,2)
  377. year in which William Faulkner died
    1962 (ULRG:79,1,2)
  378. four Depression‐era authors who are considered modernist
    T.S. Eliot, Ernest Hemingway, James Joyce, and William Faulkner (ULRG:79,1,3)
  379. people considered to be the chief literary opponents of modernist writers
    leftist, proletarian writers (ULRG:79,1,3)
  380. Why did proletarian writers consider modernists to be “irredeemably bourgeois”?
    They were elitist and out of touch with working‐class values. (ULRG:79,1,3)
  381. fictional territory William Faulkner considered himself to be owner of
    Yoknapatawpha (ULRG:79,1,4)
  382. William Faulkner’s political views
    “anti‐radical Democrat” (ULRG:79,2,1)
  383. reason that William Faulkner was often opposed to New Deal legislation
    determination to protect his private property and individualism (ULRG:79,2,1)
  384. year in which “Barn Burning” was published
    1939 (ULRG:87,1,2)
  385. location of the courthouse in “Barn Burning”
    a store (ULRG:79,2,3)
  386. main character of “Barn Burning”
    Colonel Sartoris Snopes (ULRG:80,1,9)
  387. person Colonel Sartoris Snopes’s father wants him to lie to in “Barn Burning”
    the Justice (ULRG:80,1,7)
  388. verdict the judge delivers on the Snopes family in “Barn Burning”
    The Snopes family must leave the county before dark. (ULRG:80,2,4)
  389. reason thatthat Colonel Sartoris Snopes attacks a stranger outside the courthouse in “Barn Burning”
    He or she shouted “barn burner.” (ULRG:80,2,6)
  390. object Major De Spain claims Colonel Sartoris’s father damaged in “Barn Burning”
    a rug (ULRG:83,1,1)
  391. payment the Justice demands Abner Snopes make to Major De Spain in “Barn Burning”
    ten bushels of corn (ULRG:85,1,1)
  392. adjective best describing Colonel Sartoris’s sisters in “Barn Burning”
    bovine (ULRG:81,2,8)
  393. lesson Colonel Sartoris’s father claims the boy needs to learn in “Barn Burning”
    “to stick to [his] own blood” (ULRG:81,2,2)
  394. two people Colonel Sartoris’s father forces to clean the rug in “Barn Burning”
    Colonel Sartoris’s two sisters (ULRG:83,1,8)
  395. man who commanded Colonel Sartoris’s father in the cavalry during the Civil War
    Colonel Sartoris (ULRG:87,1,0)
  396. How is “Barn Burning” unique among William Faulkner’s short stories?
    the most class‐conscious (ULRG:87,1,2)
  397. magazine that originally published “barn Burning”
    Harper’s Monthly (ULRG:87,1,2)
  398. time period in which “Barn Burning” is set
    Reconstruction era (ULRG:87,1,2)
  399. year to which “Barn Burning” fast‐forwards
    1915 (ULRG:87,1,2)
  400. crime Abner Snopes committed during the Civil War in “Barn Burning”
    horse thievery (ULRG:87,1,2)
  401. two Southern unions formed after the 1933 Agricultural Adjustment Act
    Southern Tenant Farmers’ Union and the Share Cropper’s Union (ULRG:87,2,1)
  402. activist tried by a jury of Arkansas planters for subversive activities in the early 20th century
    Ward Rodgers (ULRG:87,2,1)
  403. reason that Abner Snopes sues Major de Spain in “Barn Burning”
    imposition of an excessive fine (ULRG:87,2,4)
  404. Why does Abner Snopes hate landowners in “Barn Burning”?
    They own his ”body and soul.” (ULRG:88,1,1)
  405. the only weapon Abner Snopes feels he has in “Barn Burning”
    fire (ULRG:88,1,1)
  406. Greek hero Abner Snopes mirrors in “Barn Burning”
    Achilles (ULRG:88,1,1)
  407. building De Spain’s house is compared to in “Barn Burning”
    a courthouse (ULRG:88,2,1)
  408. volume of Carl Sandburg’s poetry which won the Pulitzer Prize
    Complete Poems (ULRG:89,1,1)
  409. poetic style to which Carl Sandburg’s work is opposed
    modernist (ULRG:89,1,1)
  410. two founders of the school of New Criticism
    Cleanth Brooks and Robert Penn Warren (ULRG:89,1,1)
  411. shorter selections author who attacked Carl Sandburg’s poetry
    William Faulkner (ULRG:89,1,2)
  412. only volume of poetry published by William Faulkner
    The Marble Faun (ULRG:89,1,3)
  413. school of thought to which Carl Sandburg belonged
    social realism (ULRG:89,2,0)
  414. author and mutual friend of William Faulkner and Carl Sandburg
    Sherwood Anderson (ULRG:89,2,1)
  415. four writers mentored by Sherwood Anderson
    William Faulkner, John Steinbeck, Ernest Hemingway, and Tennessee Williams (ULRG:89,2,1)
  416. Sherwood Anderson novel published in 1919
    Winesburg, Ohio (ULRG:89,2,1)
  417. place where John Steinbeck met Sherwood Anderson in the 1920s
    Stanford University (ULRG:89,2,1)
  418. Sherwood Anderson’s state of birth
    Ohio (ULRG:90,1,1)
  419. two artists associated with the Chicago Renaissance
    Edgar Lee Masters and Theodore Dreiser (ULRG:90,1,1)
  420. city in which Sherwood Anderson met Carl Sandburg
    Chicago (ULRG:90,1,1)
  421. magazine Carl Sandburg began publishing in after he moved to Chicago
    Poetry (ULRG:90,1,1)
  422. Sherwood Anderson’s mentor in Chicago
    Carl Sandburg (ULRG:90,1,1)
  423. Carl Sandburg’s city of birth
    Galesburg, Illinois (ULRG:90,1,2)
  424. nationality of Carl Sandburg’s parents
    Swedish (ULRG:90,1,2)
  425. year in which Carl Sandburg was born
    1878 (ULRG:90,1,2)
  426. age at which Carl Sandburg dropped out of school
    thirteen (ULRG:90,1,2)
  427. war in which Carl Sandburg enlisted
    Spanish‐American War (ULRG:90,1,2)
  428. three shorter selections writers best described as “indifferent” students
    John Steinbeck, William Faulkner, and Carl Sandburg (ULRG:90,1,2)
  429. college attended by Carl Sandburg
    Lombard College (ULRG:90,1,2)
  430. Carl Sandburg’s first volume of poetry
    In Reckless Ecstasy (ULRG:90,1,2)
  431. presidential candidate whose presidential campaign Carl Sandburg worked for
    Eugene V. Debs (ULRG:90,1,2)
  432. Carl Sandburg’s wife
    Lilian Steichen (ULRG:90,1,2)
  433. year in which Carl Sandburg left college
    1902 (ULRG:90,1,2)
  434. newspaper Carl Sandburg wrote for in 1913
    International Socialist Review (ULRG:90,1,3)
  435. year in which Carl Sandburg won the Levinson Prize
    1914 (ULRG:90,1,3)
  436. year in which Carl Sandburg published Chicago Poems
    1916 (ULRG:90,1,3)
  437. Carl Sandburg’s first major collection of poetry
    Chicago Poems (ULRG:90,1,3)
  438. three widely anthologized Carl Sandburg poems
    “Chicago,” “Fog,” and “I Am the People, the Mob” (ULRG:90,1,3)
  439. type of poetry Carl Sandburg’s “Fog” exemplifies
    imagist (ULRG:90,1,3)
  440. three prominent imagist poets
    Amy Lowell, Ezra Pound, and William Carlos Williams (ULRG:90,2,1)
  441. 1930s politician who inspired both Studs Terkel and Carl Sandburg
    Robert La Follette (ULRG:90,2,1)
  442. dominant theme of Carl Sandburg’s Chicago Poems
    economic injustice (ULRG:90,2,1)
  443. reason thatfor Amy Lowell’s criticism of Carl Sandburg’s Chicago Poems
    found it too propagandist (ULRG:90,2,2)
  444. volume of Carl Sandburg’s poetry published in 1918
    Cornhuskers (ULRG:90,2,2)
  445. volume of Carl Sandburg’s poetry published in 1920
    Smoke and Steel (ULRG:90,2,2)
  446. style of poetry used by Carl Sandburg in his early work
    free verse (ULRG:90,2,2)
  447. Chicago event Carl Sandburg reported on in 1919
    the race riots (ULRG:90,2,2)
  448. organization that bestowed honors on Carl Sandburg for his work on the 1919 Chicago race riots
    the NAACP (ULRG:90,2,2)
  449. president Carl Sandburg published a biography about
    Abraham Lincoln (ULRG:90,2,3)
  450. first and last volumes of Carl Sandburg’s biography of Abraham Lincoln
    Abraham Lincoln: The Prairie Years and Abraham Lincoln: The War Years (ULRG:90,2,3)
  451. Carl Sandburg’s 1936 book‐length poem
    The People, Yes (ULRG:90,2,3)
  452. year in which Carl Sandburg published The People, Yes
    1936 (ULRG:90,2,3)
  453. total number of volumes in Carl Sandburg’s Abraham Lincoln series
    six (ULRG:90,1,1)
  454. number of Pulitzer Prizes Carl Sandburg won during his lifetime
    two (ULRG:90,1,1)
  455. year in which Carl Sandburg was elected to the American Academy of Arts and Letters
    1940 (ULRG:90,1,1)
  456. work for which Carl Sandburg received his first Pulitzer Prize
    Abraham Lincoln: The War Years (ULRG:90,1,1)
  457. federal agency Carl Sandburg worked for during the 1950s
    the State Department (ULRG:90,1,2)
  458. job Carl Sandburg held during the 1960s
    Hollywood film consultant (ULRG:90,1,2)
  459. two authors from this year’s curriculum who received the Presidential Medal of Freedom in 1964
    John Steinbeck and Carl Sandburg (ULRG:90,1,2)
  460. author who stated in 1954 that Carl Sandburg should have won the Nobel Prize for Literature
    Ernest Hemingway (ULRG:91,1,2)
  461. work from this year’s curriculum foreshadowed by The People, Yes
    The Grapes of Wrath (ULRG:92,1,1)
  462. four main dimensions of The People, Yes
    song, documentary, rant, and orchestration (ULRG:92,1,2)
  463. 20th century modernist poet who incorporated social realism into his work
    T.S. Eliot (ULRG:92,1,2)
  464. three modernist poets who dismissed Carl Sandburg’s work
    Amy Lowell, William Carlos Williams, and Robert Frost (ULRG:92,1,2)
  465. number of sections in The People, Yes
    107 (ULRG:92,1,3)
  466. author who greatly influenced Carl Sandburg’s The People, Yes
    Walt Whitman (ULRG:92,2,0)
  467. THREE literary parallel structures employed in The People, Yes
    lists, catalogues, and repeated phrases (ULRG:92,2,0)
  468. Shorter Selections author Langston Hughes acknowledged as an influence on his own work
    Carl Sandburg (ULRG:93,2,3)
  469. Carl Sandburg poem Langston Hughes satirizes in “Good Morning Revolution”
    “Good Morning America” (ULRG:94,1,0)
  470. Langston Hughes’s city of birth
    Joplin, Missouri (ULRG:94,1,1)
  471. year Langston Hughes was born
    1902 (ULRG:94,1,1)
  472. city in which Langston Hughes attended high school
    Cleveland, Ohio (ULRG:94,1,1)
  473. country in which Langston Hughes lived for a year with his father
    Mexico (ULRG:94,1,2)
  474. Langston Hughes’ first major poem
    “The Negro Speaks of Rivers” (ULRG:94,1,2)
  475. year in which Langston Hughes’ first poem was published
    1921 (ULRG:94,2,0)
  476. New York university Langston Hughes attended
    Columbia University (ULRG:94,2,0)
  477. Langston Hughes’ first book of verse
    The Weary Blues (ULRG:94,2,1)
  478. Langston Hughes’ second volume of poetry
    Fine Clothes to the Jew (ULRG:94,2,1)
  479. year in which Langston Hughes published his first volume of poetry
    1926 (ULRG:94,2,1)
  480. TWO shorter selection authors Charlotte Osgood Mason supported
    Langston Hughes and Zora Neale Hurston (ULRG:94,2,1)
  481. Langston Hughes’ first novel
    Not Without Laughter (ULRG:94,2,1)
  482. university Langston Hughes graduated from in 1930
    Lincoln University (ULRG:94,2,1)
  483. journal Langston Hughes published most of his work in during the 1930s
    New Masses (ULRG:94,2,2)
  484. play written by Langston Hughes in 1930
    Mulatto (ULRG:94,2,3)
  485. reason that Langston Hughes’ radical leftist politics were strengthened in 1931
    visits to Haiti and the Southern United States (ULRG:95,1,1)
  486. crime of which the Scottsboro boys were convicted
    raping two white women (ULRG:95,1,1)
  487. publication company owned by Langston Hughes
    Golden Stair Press (ULRG:95,1,2)
  488. country in which Langston Hughes lived from 1932 to 1933
    the Soviet Union (ULRG:95,1,3)
  489. person who inspired Langston Hughes’ 1934 volume of short stories
    D.H. Lawrence (ULRG:95,2,0)
  490. reason that Langston Hughes fled to San Francisco in 1934
    afraid of California vigilante ranchers who disliked his sympathy for migrant workers and strikers (ULRG:95,2,1)
  491. Communist Party description of jazz
    “decadent bourgeois music” (ULRG:95,2,2)
  492. political organization to which Langston Hughes belonged
    John Reed club (ULRG:95,2,2)
  493. Langston Hughes’s 1934 collection of short stories
    The Ways of White Folks (ULRG:95,2,3)
  494. newspaper for which Langston Hughes covered the Spanish Civil War for
    Baltimore African American (ULRG:95,2,4)
  495. Langston Hughes’s theater
    the Harlem Suitcase Theater (ULRG:96,1,0)
  496. Langston Hughes’s 1938 collection of socialist poetry
    A New Song (ULRG:96,1,0)
  497. character featured in Langston Hughes’s weekly Chicago Defender columns
    Jesse B. Semple, or “Simple” (ULRG:96,1,1)
  498. year in which Langston Hughes died
    1967 (ULRG:96,1,3)
Card Set
shorter selections
shorter selections