解读诗人格温多林·布鲁克斯及其作品（打印版）
解读诗人格温多林·布鲁克斯及其作品（在线收听）
&&&&&&&&&&&&&&&&&&& 02 解读诗人格温多林·布鲁克斯及其作品& &&&&&&&& DATE=2-18-01 TITLE=PEOPLE IN AMERICA #1809 - Gwendolyn Brooks BYLINE=Cynthia Kirk VOICE ONE:
I'm Shirley Griffith. VOICE TWO: And I'm Sarah Long with the VOA Special English program, PEOPLE IN AMERICA. Today we tell about the life of award-winning poet Gwendolyn Brooks. She was the first African American to win a (1)Pulitzer Prize for(2) Literature. ((THEME)) VOICE ONE: Gwendolyn Brooks wrote hundreds of(3) poems during her lifetime. She had more than twenty books published. She was known around world for using (4)poetry to increase understanding about black culture in America. Gwendolyn Brooks wrote many poems about being black during the Nineteen-Forties and Nineteen-Fifties. Her poems described conditions among the poor, (5) racial inequality and drug use in the black community. She also wrote poems about the struggles of black women. But her skill was more than her ability to write about struggling black people. She was an expert at the language of poetry. She(6) combined traditional European poetry styles with the African American experience. VOICE TWO: Gwendolyn Brooks once said that she wrote about what she saw and heard in the street. She said she found most of her material looking out of the window of her second-floor (7)apartment house in Chicago, Illinois. In her early poetry, Gwendolyn Brooks wrote about the South Side of Chicago. The South Side of Chicago is where many black people live. In her poems, the South Side is called Bronzeville. It was "A Street in Bronzeville" that gained the attention of literary experts in Nineteen-Forty-Five. Critics praised her poetic skill and her powerful descriptions about the black experience during the time. The Bronzeville poems were her first published collection. Here she is reading from her Nineteen-Forty-Five collection, "A Street in Bronzeville." CUT ONE - GWENDOLYN BROOKS "My father, it is surely a blue place and straight. Right, regular, where I shall find no need for(8) scholarly nonchalance or looks a little to the left or guards upon the heart." VOICE ONE: In Nineteen-Fifty, Gwendolyn Brooks became the first African-American to win the Pulitzer Prize for Literature. She won the prize for her second book of poems called "Annie Allen." "Annie Allen" is a collection of poetry about the life of a Bronzeville girl as a daughter, a wife and mother. She experiences (9)loneliness, loss, death and being poor. Mizz Brooks said that winning the prize changed her life. Her next work was a novel written in Nineteen-Fifty-Three called "Maud Martha." "Maud Martha" received little notice when it first published. But now it is considered an important work by some critics. Its main ideas about the difficult life of many women are popular among (10)female writers today. VOICE TWO: Gwendolyn Brooks wrote poems about the black experience in America. She described the anger many blacks had about racial(11) injustice and the feeling of being different. She used poetry to (12)criticize those who did not show respect for the poor. Yet for all the anger in her writing, Gwendolyn Brooks was considered by many to be a (13)gentle spirit and a very giving person. By the early Nineteen-Sixties, Mizz Brooks had reached a high(14) point in her writing career. She was considered one of America's leading black writers. She was a popular teacher. She was praised for her use of language and the way people (15)identified with her writing. ((MUSIC BRIDGE)) VOICE ONE: Gwendolyn Brooks was born in Topeka, Kansas in Nineteen-Seventeen. But she grew up in Chicago. She began writing when she was eleven years old. She mailed several poems to a (16)community newspaper in Chicago to surprise her family. In a radio broadcast in Nineteen-Sixty-One, Mizz Brooks said her mother (17)urged her to develop her poetic skills: CUT TWO - GWENDOLYN BROOKS "My mother took me to the library when I was about four or five. I enjoyed reading poetry and I tried to write it when I was about seven, at the time that I first tried to put(18) rhymes together. And I have loved it ever since." VOICE TWO: Gwendolyn Brooks married Henry L. Blakely in Nineteen-Thirty-Nine. Henry Blakely was a young writer who later published his own poetry. They lived in Chicago for the next thirty years, (19) divorced in Nineteen-Sixty-Nine, but re-united in Nineteen-Seventy-Three. They had two children, Nora Brooks Blakely and Henry Blakely. Throughout her life, Mizz Brooks supported herself through speaking (20)appearances, poetry readings and part time teaching in colleges. She also received money from organizations that offered grants designed to support the arts. VOICE ONE: One of Gwendolyn Brooks most famous poems is called "We Real Cool". It is a short poem that talks about young people feeling hopeless: "We real cool. We left school. We (21)lurk late. We strike straight. We sing sin. We thin (22)gin. We jazz June. We die soon." VOICE TWO: By the end of the Nineteen-Sixties, Gwendolyn Brooks's poetry expanded from the everyday experiences of people in Bronzeville. She wrote about a wider world and dealt with important political issues. She won praise for her sharper, real-life poetic style. Gwendolyn Brooks was affected by the civil rights struggles and social changes taking place in America. She began to question her relations with whites. She said she felt that black poets should write for black people. That became (23)evident in her next collection of poetry in Nineteen-Sixty-Eight called "In the Mecca." Critics suggested Mizz Brooks had become too political and seemed to be writing only for black people. Her new poems received little notice in the press. VOICE ONE: In some of her poems, Gwendolyn Brooks' described how what people see in life is affected by who they are. One example is this poem, "Corners on the Curving Sky": Our earth is round, and, among other things That means that you and I can hold completely different Points of view and both be right. The difference of our positions will show Stars in your window. I cannot even imagine. Your sky may burn with light, While mine, at the same moment, Spreads beautiful to darkness. Still, we must choose how we separately corner The circling universe of our experience Once chosen, our cornering will determine The message of any star and darkness we encounter. VOICE TWO: Although her poetry did not receive much notice in the press, Gwendolyn Brooks continued to receive honors. She was chosen poet (24)laureate of the state of (25)Illinois in Nineteen-Sixty-Eight. In Nineteen-Seventy-Six, she became the first black woman to be elected to the National (26)Institute of Arts and Letters. She received a lifetime achievement award from the National(27) Endowment of the Arts in Nineteen-Eighty-Nine. And she was named the Nineteen-Ninety-Four Jefferson Lecturer by the National Endowment of the (28)Humanities. That is the highest honor given by the federal government for work in the humanities. Mizz Brooks once said that of all the awards she received, there was only one that meant a lot to her. It was given to her at a (29)workshop in an old theater in Chicago. She said "I was given an award for just being me, and that's what poetry is to me - just being me." VOICE ONE: Although she was well-known, Gwendolyn Brooks lived a quiet life. She said her greatest interest was being involved with young people. She spent time giving readings at schools, prisons and hospitals. She also attended yearly poetry competitions for Chicago children. She often paid for the awards given to the winners. Haki Madhubuti directs the Gwendolyn Brooks Center for Creative Writing and Black Literature at Chicago State University. He said Mizz Brooks felt children would help lead the way toward healing the wounds of the United States civil rights movement of the Nineteen-Sixties. One young student talked about how Mizz Brooks' poetry affected her. She said that(30)Gwendolyn Brooks' writings influenced her to write down how she truly feel deep inside. VOICE TWO: Gwendolyn Brooks influenced many African-American writers. Friends say her prize-winning works also helped other black Americans to develop their own sense of (31)identity and culture. Doctors discovered Mizz Brooks had cancer in November, Two-Thousand. She died December Third at her home in Chicago. She was eighty-three. The (32)funeral service was held on the South Side, the same area of the city that had been a window for much of Mizz Brooks's poetry. The service was at times filled with laughter. There were warm remembrances of a woman whose life and words had touched people forever. African(33) drums sounded and dancers leaped. Gwendolyn Brooks worked right up to the end of her life. Her most recent collection of poems, called "In Birmingham", will be published later this year. ((THEME)) VOICE ONE: This Special English program was written and produced by Cynthia Kirk. I'm Shirley Griffith. VOICE TWO: And I'm Sarah Long. Join us again next week for another PEOPLE IN AMERICA program on the Voice of America.
(1)&　Pulitzer[ 5pulitsE ]普利策(2)&　literature[ 5litEritFE ]n.文学(作品), 文艺, 著作, 文献(3)&poem[ 5pEuim, 5pEuem ]n.诗, 象诗一样, 美丽的东西(4)&poetry[ 5pEuitri, 5pEuetri ]n.诗, 作诗法, 诗意, 诗情(5)&racial[ 5reiFEl ]adj.人种的, 种族的, 种族间的(6)&combined[ kEm5baind ]adj.组合的, 结合的(7)&apartment[ E5pB:tmEnt ]n.公寓住宅, 单元住宅, 房间(8)&scholarly[5skRlElI]adj.学者气质的, 学者风度的(9)&loneliness[5lEJnlInIz]n.孤独, 寂寞(10)&female[ 5fi:meil ]n.女性, 女人, 雌兽adj.女性的, 女子的, 妇女的, 雌的, (11)&injustice[ in5dVQstis ]n.不公平, 不讲道义(12)&criticize[ 5kritisaiz ]v.批评, 责备(13)&　gentle[ 5dVentl ]adj.温和的, 文雅的(14)&　point[pCInt]n.点, 尖端, 分数, 要点, 分数vt.弄尖, 指向, 指出, 瞄准,(15)&identifier[ ai 5dentifaiE ]n.检验人, 标识符(16)&community[ kE5mju:niti ]n.公社, 团体, 社会, (政治)共同体, 共有, 一致, (17)&urgence[`:dVLns]n.紧急, 紧急的事, 强求, 催促, 坚持(18)&rhyme[ raim ]n.韵, 押韵, 押韵的词vi.押韵, 作诗, 韵律和谐vt.使押韵, (19)&divorced离婚的(20)&appearance[ E5piErEns ]n.出现, 露面, 外貌, 外观(21)&lurk[ lE:k ]n.潜伏, 埋伏vi.潜藏, 潜伏, 埋伏(22)&gin[ dVin ]n.陷阱, 起重装, 轧棉机, 杜松子酒v.轧(23)&evident[ 5evidEnt ]adj.明显的, 显然的(24)&laureate[ 5lC:riit ]adj.佩戴桂冠的n.戴桂冠的人(25)&Illinois[ 7ili5nCi(z) ]n.伊利诺斯州(美国州名)(26)&institute[ 5institju:t ]n.学会, 学院, 协会vt.创立, 开始, 制定, (27)&endowment[ in5daumEnt ]n.捐赠, 捐赠的基金(或财产), 天资, 捐款(28)&humanities人文学科(29)&workshop[ 5wE:kFCp ]n.车间, 工场(30)&Gwendolyn[ 5^wendElin ]n.格温多林(f.)(31)&identity[ ai5dentiti ]n.同一性, 身份, 一致, 特性, 恒等式(32)&funeral[ 5fju:nErEl ]n.葬礼, 出殡(33)&drum[ drQm ]n.鼓, 鼓声, [解]鼓膜, 鼓室vi.击鼓, 作鼓声vt.打鼓奏
& 原文地址：狗是人类最好的朋友，它们通常会充当成小说故事里的角色、摄影作品的模特和满足科学好奇心的话题。在文学历史上，不少大文豪会用狗来作比喻或思考。&
《&纽约客&狗狗全书》(The Big New Yorker Book of Dogs)收录了《纽约客》杂志以狗为主题的优秀作品，包括埃尔文&布鲁克斯&怀特、麦拉&卡尔曼、约翰&厄普代克、乔纳森&勒瑟姆、罗尔德&达尔的作品，类型有小说、诗歌、专题、幽默文学、卡通、封面艺术和手稿画。&
《&纽约客&狗狗全书》封面
美国作家马尔科姆&格拉德威尔在为该书撰写的前言里说道：&如果你买了这本几百页都是关于狗的书，换句话说，你和我们一样过多地陷入了狗狗的情感生活中。你想过你为什么会买这本书吗？一个很可能的答案是你认为人对狗的喜爱可以检验更多更宽泛的问题。但狗并不是别的东西，狗就是狗。&
本书分为四个部分：好狗集、坏狗集、夺魁者和失败者，主题范围涉及发展、家庭、爱情、顺从、丧亲之痛、语言等等。这本足足400页充满插画的大书绝对值得细细品读。
以下是一些《纽约客》以狗狗为主题的封面和插画：
麦拉&卡尔曼绘于1999年2月1日
Constantin Alajalov绘于1938年2月12日
&在互联网上，没人知道你是条狗。&
马克&乌瑞克森绘于2002年6月10日
皮特&亚诺绘于1967年7月22日
皮特&亚诺绘于1935年3月23日
我没在给你爪子，我在朝你竖中指。
Anatol Kovarsky绘于日
Ana Juan绘于2010年2月8日
&我想猫不懂得欣赏弗兰克&盖里。&
（注：弗兰克&盖里是美国解构主义建筑师，代表作西班牙毕包尔古根汉美术馆。）
詹姆斯&瑟伯绘于1936年2月29日
约翰&库尼奥绘于2011年6月27日
&别取下来。&
Peter de Sev&绘于2012年4月30日
马克&乌瑞克森绘于2005年4月11日&
&你还不明白吗？树枝根本不重要，我是让你去找你自己。&
&乌瑞克森绘于2003年3月10日
马克&乌瑞克森绘于2001年7月20日
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上海外滩传媒有限公司 版权所有 沪ICP备号《精灵鼠小弟》作者：(美)埃尔文·布鲁克斯·怀特(完结).TXT内容简介： 本书讲了美国纽约一个叫利特尔的普通家庭，他们有了一个像老鼠一样大小，长得也像老鼠的男孩斯图尔特。但是一家人没有大惊小怪，更没有唉声叹气。相反，鼠小弟斯图尔特的出现，一家的生活反而变得更加有趣，发生很多好玩的事儿。故事充满了浓浓的亲情和深深的爱意。特别是鼠小弟斯图尔特充满了冒险精神，乐观地迎接挑战，百折不挠地追求自己的爱。也充满了温馨、质朴和乐观的精神，乐观地迎接挑战，百折不挠地追求自己的爱。他为了寻找自己所爱的小鸟玛加洛，驾驶着微型小汽车，向北前进。尤为耐人寻味的是，直到故事结束，鼠小弟还没有找到小鸟玛加洛，但是他说：“我将一直朝北走，直到我的生命结束。” 我们的孩子，非常需要具有这样的精神——自信、豁达、乐观、百折不挠、勇往直前……
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