(eBook PDF) American History:

Connecting with the Past Vol 2 15th

Edition
Visit to download the full and correct content document:
https://ebooksecure.com/download/ebook-pdf-american-history-connecting-with-the-p
ast-vol-2-15th-edition/
AMERICAN HISTORY
Connecting with the Past | FIFTEENTH EDITION

Volume 2: from 1865

ALAN BRINKLEY
Columbia University
AMERICAN HISTORY: CONNECTING WITH THE PAST, 15E
Alan Brinkley

Published by McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121. Copyright © 2015 by McGraw-Hill Education. All rights re-
served. Printed in the United States of America. Previous editions © 2012, 2009, and 2007. No part of this publication may be reproduced
or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of McGraw-Hill
Education, including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning.

Some ancillaries, including electronic and print components, may not be available to customers outside the United States.

This book is printed on acid-free paper.

1 2 3 4 5 6 7 8 9 0 DOW/DOW 1 0 9 8 7 6 5 4

ISBN 978-0-07-351329-4
MHID 0-07-351329-6

Senior Vice President, Products & Markets: Kurt L. Strand

Vice President, General Manager, Products & Markets: Michael Ryan
Vice President, Content Design & Delivery: Kimberly Meriwether David
Managing Director: Gina Boedeker
Brand Manager: Laura Wilk
Director, Product Development: Meghan Campbell
Executive Marketing Manager: Stacy Best Ruel
Marketing Manager: April Cole
Lead Product Developer: Rhona Robbin
Digital Product Analyst: John Brady
Director, Content Production: Terri Schiesl
Production Manager: Marianne Musni
Content Project Manager: Emily Kline
Buyer: Laura M. Fuller
Design: David Hash
Content Licensing Specialists: Carolyn Burger, Michelle Whitaker, Dianna Dausener
Cover Image: © NASA/Courtesy of nasaimages.org
Compositor: Aptara®, Inc.
Typeface: 9.5/12 That Book
Printer: R. R. Donnelley

All credits appearing on page or at the end of the book are considered to be an extension of the copyright page.

Library of Congress Cataloging-in-Publication Data

Brinkley, Alan.
American history : connecting with the past / Alan Brinkley.—Fifteenth edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-07-351329-4 (alkaline paper)—ISBN 0-07-351329-6 (alkaline paper)—ISBN 978-0-07-777675-6
(alkaline paper)—ISBN 0-07-777675-5 (alkaline paper)—ISBN 978-0-07-777674-9 (alkaline paper)
1. United States—History—Textbooks. I. Title.
E178.1.B826 2014
973—dc23 2014021721

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a website does not indicate an endorsement by
the authors or McGraw-Hill Education, and McGraw-Hill Education does not guarantee the accuracy of the information presented at these sites.

www.mhhe.com
ABOUT THE AUTHOR

Alan Brinkley is the Allan Nevins Professor of History at Columbia University. He served
as University Provost at Columbia from 2003 to 2009. He is the author of Voices of Protest:
Huey Long, Father Coughlin, and the Great Depression, which won the 1983 National Book
Award; The Unfinished Nation: A Concise History of the American People; The End of Reform: New
Deal Liberalism in Recession and War; Liberalism and Its Discontents; Franklin D. Roosevelt; and
The Publisher: Henry Luce and His American Century. He was the chair of the board of the
National Humanities Center, the chair of the board of the Century Foundation, and a trustee
of Oxford University Press. He is a member of the Academy of Arts and Sciences. In 1998–1999,
he was the Harmsworth Professor of History at Oxford University, and in 2011–2012, the Pitt
Professor at the University of Cambridge. He won the Joseph R. Levenson Memorial Teaching
Award at Harvard, and the Great Teacher Award at Columbia. He was educated at Princeton
and Harvard.

• ix
This page intentionally left blank
 BRIEF CONTENTS

PREFACE xxi

15 RECONSTRUCTION AND THE NEW SOUTH 399

16 THE CONQUEST OF THE FAR WEST 430
17 INDUSTRIAL SUPREMACY 458
18 THE AGE OF THE CITY 486
19 FROM CRISIS TO EMPIRE 514
20 THE PROGRESSIVES 551
21 AMERICA AND THE GREAT WAR 583
22 THE “NEW ERA” 614
23 THE GREAT DEPRESSION 639
24 THE NEW DEAL 661
25 THE GLOBAL CRISIS, 1921–1941 686
26 AMERICA IN A WORLD AT WAR 704
27 THE COLD WAR 732
28 THE AFFLUENT SOCIETY 753
29 CIVIL RIGHTS, VIETNAM, AND THE ORDEAL OF LIBERALISM 781
30 THE CRISIS OF AUTHORITY 807
31 FROM THE “AGE OF LIMITS” TO THE AGE OF REAGAN 837
32 THE AGE OF GLOBALIZATION 856

APPENDIXES A-1

CREDITS C-1

INDEX I-1

• xi
This page intentionally left blank
 CONTENTS

THE CONQUEST OF
PREFACE xxi
16 THE FAR WEST 430
RECONSTRUCTION AND
15 THE NEW SOUTH 399 SETTING THE STAGE 431
THE SOCIETIES OF THE
SETTING THE STAGE 400 FAR WEST 431
THE PROBLEMS OF The Western Tribes 431
PEACEMAKING 400 Hispanic New Mexico 433
The Aftermath of War and Hispanic California and
Emancipation 400 Texas 434
Competing Notions of The Chinese Migration 434
Freedom 401 Anti-Chinese Sentiments 436
Issues of Reconstruction 402 Migration from the East 437
Plans for Reconstruction 403 THE CHANGING WESTERN ECONOMY 438
The Death of Lincoln 403 Labor in the West 439
Johnson and “Restoration” 404 The Arrival of the Miners 439
RADICAL RECONSTRUCTION 404 The Cattle Kingdom 441
The Black Codes 405 THE ROMANCE OF THE WEST 443
The Fourteenth Amendment 405 The Western Landscape 443
The Congressional Plan 405 The Cowboy Culture 443
The Impeachment of the President 407 The Idea of the Frontier 443
THE SOUTH IN RECONSTRUCTION 407 Frederick Jackson Turner 445
The Reconstruction Governments 407 The Loss of Utopia 445
Education 408 THE DISPERSAL OF THE TRIBES 447
Landownership and Tenancy 409 White Tribal Policies 447
The Crop-Lien System 410 The Indian Wars 449
The African American Family in Freedom 412 The Dawes Act 452
THE GRANT ADMINISTRATION 412 THE RISE AND DECLINE OF THE WESTERN FARMER 453
The Soldier President 412 Farming on the Plains 453
The Grant Scandals 412 Commercial Agriculture 455
The Greenback Question 413 The Farmers’ Grievances 455
Republican Diplomacy 413 The Agrarian Malaise 455
THE ABANDONMENT OF Patterns of Popular Culture
RECONSTRUCTION 414 The Wild West Show 444
The Southern States “Redeemed” 414
Debating the Past
The Ku Klux Klan Acts 414
Waning Northern Commitment 414 The “Frontier” and the West 446
The Compromise of 1877 415 END-OF-CHAPTER REVIEW 456
The Legacies of Reconstruction 417

INDUSTRIAL
THE NEW SOUTH 418
The “Redeemers” 418
Industrialization and the “New South” 419
17 SUPREMACY 458
Tenants and Sharecroppers 420
African Americans and the New South 421 SETTING THE STAGE 459
The Birth of Jim Crow 422 SOURCES OF INDUSTRIAL
GROWTH 459
Debating the Past Industrial Technologies 459
Reconstruction 416 The Airplane and the Automobile 461
Patterns of Popular Culture Research and Development 462
The Minstrel Show 420 The Science of Production 462
Railroad Expansion 463
Consider the Source The Corporation 464
Remembering Black History 426 Consolidating Corporate America 465
END-OF-CHAPTER REVIEW 428 The Trust and the Holding
Company 466

• xiii
xiv • CONTENTS

CAPITALISM AND ITS CRITICS 467 Spectator Sports 503

The “Self-Made Man” 467 Music and Theater 506
Survival of the Fittest 471 The Movies 507
The Gospel of Wealth 471 Working-Class Leisure 507
Alternative Visions 472 The Fourth of July 507
The Problems of Monopoly 473 Mass Communications 508
INDUSTRIAL WORKERS IN THE NEW ECONOMY 475 HIGH CULTURE IN THE AGE OF THE CITY 508
The Immigrant Workforce 476 The Literature of Urban America 508
Wages and Working Conditions 476 Art in the Age of the City 509
Women and Children at Work 477 The Impact of Darwinism 509
The Struggle to Unionize 478 Toward Universal Schooling 510
The Great Railroad Strike 479 Education for Women 511
The Knights of Labor 480 America in the World
The AFL 480
Global Migrations 490
The Homestead Strike 481
The Pullman Strike 482 Patterns of Popular Culture
Sources of Labor Weakness 483 Coney Island 504
Consider the Source END-OF-CHAPTER REVIEW 512•
Philanthropy 468
Patterns of Popular Culture
FROM CRISIS TO EMPIRE
The Novels of Horatio Alger 472
Patterns of Popular Culture 19 514

The Novels of Louisa May Alcott 474

SETTING THE STAGE 515
END-OF-CHAPTER REVIEW 483 THE POLITICS OF EQUILIBRIUM 515
The National Government 516
Presidents and Patronage 516
THE AGE OF THE CITY Cleveland, Harrison, and the
18 486
Tariff 517
New Public Issues 517
SETTING THE STAGE 487
THE AGRARIAN REVOLT 520
THE URBANIZATION OF
The Grangers 520
AMERICA 487
The Farmers’ Alliances 521
The Lure of the City 487
The Populist Constituency 523
Migrations 488
Populist Ideas 523
The Ethnic City 490
Assimilation 491 THE CRISIS OF THE 1890S 524
Exclusion 492 The Panic of 1893 524
The Silver Question 525
THE URBAN LANDSCAPE 494
The Creation of Public Space 494 “A CROSS OF GOLD” 527
Housing the Well-to-Do 495 The Emergence of Bryan 528
Housing Workers and the Poor 495 The Conservative Victory 529
Urban Transportation 496 McKinley and Recovery 530
The “Skyscraper” 497
STIRRINGS OF IMPERIALISM 531
STRAINS OF URBAN LIFE 497 The New Manifest Destiny 532
Fire and Disease 497 Hemispheric Hegemony 533
Environmental Degradation 498 Hawaii and Samoa 534
Urban Poverty 498
Crime and Violence 499 WAR WITH SPAIN 538
The Machine and the Boss 499 Controversy over Cuba 538
“A Splendid Little War” 539
THE RISE OF MASS CONSUMPTION 500 Seizing the Philippines 539
Patterns of Income and Consumption 500 The Battle for Cuba 542
Chain Stores and Mail-Order Houses 501 Puerto Rico and the United States 543
Department Stores 501 The Debate over the Philippines 543
Women as Consumers 502
THE REPUBLIC AS EMPIRE 545
LEISURE IN THE CONSUMER SOCIETY 502 Governing the Colonies 545
Redefining Leisure 502 The Philippine War 545
 CONTENTS • xv

The Open Door 547 Roosevelt and Preservation 575

A Modern Military System 548 The Hetch Hetchy Controversy 575
Patterns of Popular Culture The Panic of 1907 576
The Chautauquas 524 THE TROUBLED SUCCESSION 577
Debating the Past Taft and the Progressives 577
The Return of Roosevelt 578
Populism 528
Spreading Insurgency 578
America in the World Roosevelt versus Taft 578
Imperialism 534
WOODROW WILSON AND THE NEW FREEDOM 579
Patterns of Popular Culture Woodrow Wilson 579
Yellow Journalism 536 The Scholar as President 579
Consider the Source Retreat and Advance 580
Memorializing National History 540 Debating the Past
END-OF-CHAPTER REVIEW 549 Progressivism 556
America in the World
Social Democracy 562
THE PROGRESSIVES
20 551 Consider the Source
Dedicated to Conserving America 572
END-OF-CHAPTER REVIEW 581
SETTING THE STAGE 552
THE PROGRESSIVE IMPULSE 552
Varieties of Progressivism 552
The Muckrakers 553
AMERICA AND THE
The Social Gospel 553
The Settlement House 21 GREAT WAR 583
Movement 553
The Allure of Expertise 554 SETTING THE STAGE 584
The Professions 555 THE “BIG STICK”: AMERICA
Women and the Professions 555 AND THE WORLD,
1901–1917 584
WOMEN AND REFORM 556
Roosevelt and
The “New Woman” 556
“Civilization” 584
The Clubwomen 557
Protecting the “Open Door”
Woman Suffrage 559
in Asia 584
THE ASSAULT ON THE PARTIES 560 The Iron-Fisted Neighbor 585
Early Attacks 560 The Panama Canal 586
Municipal Reform 561 Taft and “Dollar Diplomacy” 587
New Forms of Governance 561 Diplomacy and Morality 587
Statehouse Progressivism 562
THE ROAD TO WAR 589
Parties and Interest Groups 563
The Collapse of the European Peace 589
SOURCES OF PROGRESSIVE REFORM 564 Wilson’s Neutrality 589
Labor, the Machine, and Reform 564 Preparedness versus Pacifism 590
Western Progressives 565 A War for Democracy 590
African Americans and Reform 565
“WAR WITHOUT STINT” 591
CRUSADE FOR SOCIAL ORDER AND REFORM 566 Entering the War 591
The Temperance Crusade 567 The American Expeditionary Force 592
Immigration Restriction 568 The Military Struggle 593
The New Technology of Warfare 594
CHALLENGING THE CAPITALIST ORDER 568
The Dream of Socialism 568 THE WAR AND AMERICAN SOCIETY 596
Decentralization and Regulation 570 Organizing the Economy for War 596
Labor and the War 596
THEODORE ROOSEVELT AND THE MODERN Economic and Social Results of the War 597
PRESIDENCY 570
The Accidental President 571 THE FUTILE SEARCH FOR SOCIAL UNITY 599
Government, Capital, and Labor 571 The Peace Movement 599
The “Square Deal” 574 Selling the War and Suppressing
Roosevelt and Conservation 574 Dissent 599
xvi • CONTENTS

THE SEARCH FOR A NEW WORLD ORDER 603 Dance Halls 628
The Fourteen Points 603 END-OF-CHAPTER REVIEW 637
Early Obstacles 603
The Paris Peace Conference 604
The Ratification Battle 605
THE GREAT DEPRESSION
Wilson’s Ordeal 605
A SOCIETY IN TURMOIL 606
23 639

Industry and Labor 606 SETTING THE STAGE 640

The Demands of African Americans 607 THE COMING OF THE GREAT
The Red Scare 609 DEPRESSION 640
Refuting the Red Scare 611 The Great Crash 640
The Retreat from Idealism 611 Causes of the Depression 641
Consider the Source Progress of the Depression 643
Race, Gender, and Military Service 600 THE AMERICAN PEOPLE IN HARD
END-OF-CHAPTER REVIEW 612 TIMES 643
Unemployment and Relief 644
African Americans and the
Depression 645
THE “NEW ERA”
22 614 Mexican Americans in Depression America 646
Asian Americans in Hard Times 648
Women and the Workplace in the Great
SETTING THE STAGE 615 Depression 648
THE NEW ECONOMY 615 Depression Families 649
Technology and Economic
Growth 615 THE DEPRESSION AND AMERICAN CULTURE 649
Economic Organization 616 Depression Values 649
Labor in the New Era 617 Artists and Intellectuals in the Great Depression 650
Women and Minorities in the Radio 650
Workforce 617 Movies in the New Era 651
The “American Plan” 621 Popular Literature and Journalism 653
Agricultural Technology and the The Popular Front and the Left 654
Plight of the Farmer 621
THE UNHAPPY PRESIDENCY OF
THE NEW CULTURE 622 HERBERT HOOVER 655
Consumerism 622 The Hoover Program 656
Advertising 622 Popular Protest 657
The Movies and Broadcasting 623 The Election of 1932 658
Modernist Religion 624 The “Interregnum” 658
Professional Women 624 Debating the Past
Changing Ideas of Motherhood 624
Causes of the Great Depression 642
The “Flapper”: Image and Reality 625
Pressing for Women’s Rights 626 America in the World
Education and Youth 627 The Global Depression 644
The Disenchanted 627 Patterns of Popular Culture
The Harlem Renaissance 630
The Films of Frank Capra 652
A CONFLICT OF CULTURES 631 END-OF-CHAPTER REVIEW 659
Prohibition 631
Nativism and the Klan 631
Religious Fundamentalism 634
THE NEW DEAL
The Democrats’ Ordeal 635
REPUBLICAN GOVERNMENT 635
24 661

Harding and Coolidge 635 SETTING THE STAGE 662

Government and Business 637 LAUNCHING THE NEW DEAL 662
Consider the Source Restoring Confidence 662
Communications Technology 618 Agricultural Adjustment 663
Industrial Recovery 663
America in the World
Regional Planning 667
The Cinema 626 Currency, Banks, and the Stock Market 668
Patterns of Popular Culture The Growth of Federal Relief 668
 CONTENTS • xvii

THE NEW DEAL IN TRANSITION 669 Debating the Past

Critics of the New Deal 669 The Question of Pearl Harbor 700
The “Second New Deal” 670
END-OF-CHAPTER REVIEW 702
Labor Militancy 671
Organizing Battles 671
Social Security 672
AMERICA IN A WORLD
New Directions in Relief 673
The 1936 “Referendum” 673 26 AT WAR 704
THE NEW DEAL IN DISARRAY 675
The Court Fight 675 SETTING THE STAGE 705
Retrenchment and Recession 676 WAR ON TWO FRONTS 705
Containing the Japanese 705
LIMITS AND LEGACIES OF THE NEW DEAL 678
Holding Off the Germans 706
The Idea of the “Broker State” 679
America and the Holocaust 708
African Americans and the New Deal 679
The New Deal and the “Indian Problem” 681 THE AMERICAN PEOPLE IN
Women and the New Deal 682 WARTIME 709
The New Deal in the West and the South 683 Prosperity 709
The New Deal and the National Economy 683 The War and the West 712
The New Deal and American Politics 684 Labor and the War 712
Consider the Source Stabilizing the Boom 712
Mobilizing Production 713
Banking Crises 664
Wartime Science and Technology 713
Patterns of Popular Culture African Americans and the War 715
The Golden Age of Comic Books 676 Native Americans and the War 716
Debating the Past Mexican American War Workers 716
Women and Children at War 716
The New Deal 680
Wartime Life and Culture 718
END-OF-CHAPTER REVIEW 684 The Internment of Japanese Americans 720
Chinese Americans and the War 721
The Retreat from Reform 721
THE DEFEAT OF THE AXIS 722
THE GLOBAL CRISIS,
25 1921–1941 686
The Liberation of France 722
The Pacific Offensive 724
The Manhattan Project 726
SETTING THE STAGE 687 Atomic Warfare 727
THE DIPLOMACY OF THE NEW Consider the Source
ERA 687
The Face of the Enemy 710
Replacing the League 687
Debts and Diplomacy 688 Patterns of Popular Culture
Hoover and the World Crisis 689 Life: The Great Magazine 718
ISOLATIONISM AND Debating the Past
INTERNATIONALISM 690 The Decision to Drop the Atomic Bomb 728
Depression Diplomacy 691 END-OF-CHAPTER REVIEW 730
America and the Soviet Union 691
The Good Neighbor Policy 691
The Rise of Isolationism 692
THE COLD WAR
The Failure of Munich 694
FROM NEUTRALITY TO
27 732

INTERVENTION 695
SETTING THE STAGE 733
Neutrality Tested 695
ORIGINS OF THE COLD
The Third-Term Campaign 698
WAR 733
Neutrality Abandoned 699
Sources of Soviet-American
The Road to Pearl Harbor 699
Tension 733
America in the World Wartime Diplomacy 734
The Sino-Japanese War, 1931–1941 692 Yalta 734
Patterns of Popular Culture THE COLLAPSE OF THE PEACE 735
Orson Welles and the “War of the Worlds” 696 The Failure of Potsdam 735
xviii • CONTENTS

The China Problem 735 Travel, Outdoor Recreation, and

The Containment Doctrine 736 Environmentalism 765
The Marshall Plan 737 Organized Society and Its Detractors 766
Mobilization at Home 738 The Beats and the Restless Culture of Youth 767
The Road to NATO 739 Rock ’n’ Roll 768
Reevaluating Cold War Policy 740
THE “OTHER AMERICA” 770
The Conservative Opposition to Containment 740
On the Margins of the Affluent Society 770
AMERICAN SOCIETY AND POLITICS Rural Poverty 770
AFTER THE WAR 741 The Inner Cities 771
The Problems of Reconversion 741
THE RISE OF THE CIVIL RIGHTS MOVEMENT 772
The Fair Deal Rejected 742
The Brown Decision and “Massive Resistance” 772
The Election of 1948 742
The Expanding Movement 773
The Fair Deal Revived 743
Causes of the Civil Rights Movement 773
The Nuclear Age 744
EISENHOWER REPUBLICANISM 774
THE KOREAN WAR 745
“What Was Good for . . . General Motors” 774
The Divided Peninsula 745
The Survival of the Welfare State 774
From Invasion to Stalemate 745
The Decline of McCarthyism 775
Limited Mobilization 746
EISENHOWER, DULLES, AND
THE CRUSADE AGAINST SUBVERSION 747
THE COLD WAR 775
HUAC and Alger Hiss 747
Dulles and “Massive Retaliation” 775
The Federal Loyalty Program and the Rosenberg
France, America, and Vietnam 776
Case 748
Cold War Crises 776
McCarthyism 749
Europe and the Soviet Union 778
The Republican Revival 749
The U-2 Crisis 778
Debating the Past
Patterns of Popular Culture
Origins of the Cold War 736
On the Road 756
Debating the Past
Patterns of Popular Culture
“McCarthyism” 750
Lucy and Desi 768
END-OF-CHAPTER REVIEW 750
END-OF-CHAPTER REVIEW 779

THE AFFLUENT SOCIETY CIVIL RIGHTS, VIETNAM,

28 753
29 AND THE ORDEAL OF
SETTING THE STAGE 754 LIBERALISM 781
“THE ECONOMIC MIRACLE” 754
Sources of Economic SETTING THE STAGE 782
Growth 754 EXPANDING THE LIBERAL
The Rise of the Modern STATE 782
West 755 John Kennedy 782
The New Economics 755 Lyndon Johnson 783
Capital and Labor 756 The Assault on Poverty 784
Cities, Schools, and
THE EXPLOSION OF SCIENCE Immigration 784
AND TECHNOLOGY 758 Legacies of the Great Society 785
Medical Breakthroughs 758
Pesticides 759 THE BATTLE FOR RACIAL
Postwar Electronic Research 759 EQUALITY 786
Postwar Computer Technology 760 Expanding Protests 786
Bombs, Rockets, and Missiles 760 A National Commitment 787
The Space Program 761 The Battle for Voting Rights 787
The Changing Movement 788
PEOPLE OF PLENTY 762 Urban Violence 789
The Consumer Culture 762 Black Power 790
The Landscape and the Automobile 763 Malcolm X 791
The Suburban Nation 763
The Suburban Family 764 “FLEXIBLE RESPONSE” AND THE COLD WAR 792
The Birth of Television 764 Diversifying Foreign Policy 792
 CONTENTS • xix

Confrontations with the Soviet Union 793 NIXON, KISSINGER, AND THE WORLD 827
Johnson and the World 793 China and the Soviet Union 827
The Problems of Multipolarity 827
THE AGONY OF VIETNAM 793
The First Indochina War 794 POLITICS AND ECONOMICS UNDER NIXON 828
Geneva and the Two Vietnams 795 Domestic Initiatives 828
America and Diem 795 From the Warren Court to the Nixon
From Aid to Intervention 796 Court 828
The Quagmire 798 The Election of 1972 829
The War at Home 799 The Troubled Economy 830
Inequality 832
THE TRAUMAS OF 1968 801
The Nixon Response 832
The Tet Offensive 801
The Political Challenge 802 THE WATERGATE CRISIS 832
The King and Kennedy Assassinations 803 The Scandals 832
The Conservative Response 804 The Fall of Richard Nixon 833
Debating the Past Patterns of Popular Culture
The Civil Rights Movement 788 Rock Music in the Sixties 810
Debating the Past America in the World
The Vietnam Commitment 794 The End of Colonialism 824
Patterns of Popular Culture Debating the Past
The Folk-Music Revival 798 Watergate 830
America in the World END-OF-CHAPTER REVIEW 834
1968 802
END-OF-CHAPTER REVIEW 805
FROM THE “AGE OF LIMITS”
31 TO THE AGE OF REAGAN 838
THE CRISIS OF
30 AUTHORITY ••• SETTING THE STAGE 838
POLITICS AND DIPLOMACY AFTER
WATERGATE 838
SETTING THE STAGE 808
The Ford Custodianship 838
THE YOUTH CULTURE 808
The Trials of Jimmy Carter 839
The New Left 808
Human Rights and National
The Counterculture 811
Interests 840
THE MOBILIZATION OF The Year of the Hostages 840
MINORITIES 813
THE RISE OF THE NEW AMERICAN
Seeds of Indian Militancy 813
RIGHT 841
The Indian Civil Rights
The Sunbelt and Its Politics 842
Movement 815
The Politics of Religion 842
Latino Activism 816
The “New Right” 844
Gay Liberation 817
The Tax Revolt 845
THE NEW FEMINISM 818 The Campaign of 1980 845
The Rebirth 819
THE “REAGAN REVOLUTION” 846
Women’s Liberation 819
The Reagan Coalition 846
Expanding Achievements 820
Reagan in the White House 846
The Abortion Controversy 821
“Supply-Side” Economics 846
ENVIRONMENTALISM IN A TURBULENT SOCIETY 821 The Fiscal Crisis 847
The New Science of Ecology 821 Reagan and the World 848
Environmental Advocacy 822 The Election of 1984 849
Environmental Degradation 822
AMERICA AND THE WANING OF
Earth Day and Beyond 823
THE COLD WAR 850
NIXON, KISSINGER, AND THE WAR 824 The Fall of the Soviet Union 850
Vietnamization 824 Reagan and Gorbachev 850
Escalation 825 The Fading of the Reagan Revolution 851
“Peace with Honor” 826 The Election of 1988 851
Defeat in Indochina 826 The First Bush Presidency 851
xx • CONTENTS

The First Gulf War 852 A CHANGING SOCIETY 863

The Election of 1992 853 A Shifting Population 863
Patterns of Popular Culture African Americans in the Post–Civil Rights Era 865
Modern Plagues: Drugs and AIDS 866
The Mall 842
END-OF-CHAPTER REVIEW 854 A CONTESTED CULTURE 866
Battles over Feminism and Abortion 866
The Growth of Environmentalism 867

THE AGE OF THE PERILS OF GLOBALIZATION 867

32 GLOBALIZATION 856
Opposing the “New World Order” 868
Defending Orthodoxy 870
The Rise of Terrorism 870
SETTING THE STAGE 857 The War on Terrorism 872
A RESURGENCE OF The Iraq War 872
PARTISANSHIP 857
Launching the Clinton TURBULENT POLITICS 875
Presidency 857 The Unraveling of the Bush Presidency 876
The Republican The Election of 2008 and the Financial Crisis 876
Resurgence 858 The Obama Presidency 877
The Election of 1996 858 Patterns of Popular Culture
Clinton Triumphant and Embattled 858 Rap 868
The Election of 2000 859
The Second Bush Presidency 860 Debating the Past
The Election of 2004 860 Women’s History 870
THE ECONOMIC BOOM 861 America in the World
From “Stagflation” to Growth 861 The Global Environmental Movement 874
The Two-Tiered Economy 862 END-OF-CHAPTER REVIEW 880
Globalization 862
SCIENCE AND TECHNOLOGY IN THE APPENDIXES A-1
NEW ECONOMY 862
The Digital Revolution 862 CREDITS C-1
The Internet 863
Breakthroughs in Genetics 863 INDEX I-1
 PREFACE

• Smartbook®—an online version of this book that adapts

WHY do so many people take an interest in history?
It is, I think, because we know that we are
the products of the past—that everything we know, everything
to each student’s reading experience by offering
self-quizzing and highlighting material that the student
we see, and everything we imagine is rooted in our history. It is struggling with.
is not surprising that there have been historians throughout • Connect History®—homework and quizzing exercises in-
almost all of recorded time. It is only natural that we are inter- cluding map understanding, primary source analysis, im-
ested in what the past was like. Whether we study academic age exploration, key terms, and review and writing
history or not, we all are connected to the past. questions.
Americans have always had a love of their own history. It is • Insight®—a first-of-its-kind analytics tool for Connect as-
a daunting task to attempt to convey the long and remarkable signments that provides instructors with vital informa-
story of America in a single book, but that is what this volume tion about how students are performing and which
attempts to do. The new subtitle of this book, “Connecting assignments are the most effective.
with the Past,” describes this edition’s focus on encouraging • Interactive maps—more than thirty maps in the ebook
readers to be aware of the ways in which our everyday experi- and Connect can be manipulated by students to encour-
ences are rooted in our history. age better geographical understanding.
Like any history, this book is a product of its time and reflects • Critical Missions®—an activity that immerses students in
the views of the past that historians of recent generations have pivotal moments in history. As students study primary
developed. A comparable book published decades from now will sources and maps, they advise a key historical figure on
likely seem as different from this one as this book appears differ- an issue of vital importance—for example, should
ent from histories written a generation or more ago. The writing President Truman drop the atomic bomb on Japan?
of history changes constantly—not, of course, because the past • A Primary Source Primer—a video exercise with
changes, but because of shifts in the way historians, and the pub- multiple-choice questions teaches students the impor-
lics they serve, ask and answer questions about the past. tance of primary sources and how to analyze them. This
There are now, as there have always been, critics of changes online “Introduction to Primary Sources” is designed for
in historical understanding. Many people argue that history is use at the beginning of the course, to save valuable class
a collection of facts and should not be subject to “interpreta- time.
tion” or “revision.” But historians insist that history is not and
In addition to content and scholarship updates throughout,
cannot be simply a collection of facts. They are only the begin-
we have added 4 new “Consider the Source” boxed features
ning of historical understanding. It is up to the writers and
that explore the topics of family time; wartime oratory; black
readers of history to try to interpret the evidence before them;
history; and race, gender, and military service. Our concluding
and in doing so, they will inevitably bring to the task their
chapter, “The Age of Globalization,” now brings American
own questions, concerns, and experiences.
History up-to-date through the summer of 2014 and includes
Our history requires us to examine the experience of the
coverage of the 2008 financial crisis, the rise of the Tea Party,
many different peoples and ideas that have shaped American
the 2012 election, the Affordable Care Act, and the ongoing
society. But it also requires us to understand that the United
federal gridlock.
States is a nation whose people share many things: a common
I am grateful to many people for their help on this book—
political system, a connection to an integrated national (and
especially the people at McGraw-Hill who have supported and
now international) economy, and a familiarity with a shared
sustained it so well for many years. I am grateful to Laura Wilk,
and enormously powerful mass culture. To understand the
Rhona Robbin, Art Pomponio, April Cole, Stacy Ruel, Emily
American past, it is necessary to understand both the forces
Kline, and Carrie Burger. I am grateful, too, to Deborah Bull for
that divide Americans and the forces that draw them together.
her help with photographs. I also appreciate the many sugges-
It is not only the writing of history that changes with time—
tions I have received from students over the last several years,
the tools and technologies through which information is deliv-
as well as the reviews provided by a group of talented scholars
ered change as well. Created as an integral part of the content
and teachers.
of this fifteenth edition are an array of valuable learning re-
Alan Brinkley
sources that will aid instructors in teaching and students in
Columbia University
learning about American history. These resources include:
New York, NY

• xxi
A GUIDED TOUR OF
AMERICAN HISTORY

AMERICAN HISTORY CONNECTS

STUDENTS TO THE RELEVANCE
OF HISTORY THROUGH
A SERIES OF ENGAGING
FEATURES

PaTTERNS OF POPULaR CULTURe Features

These twenty-six features bring fads, crazes,
hang-outs, hobbies, and entertainment into the
story of American history, encouraging students
to expand their definition of what constitutes
history, and to think about how we can best
understand the lived experience of past lives.

xxii •
CONSIDER THE SOURCE Features
These features guide students through careful analysis of
historical documents, both textual and visual, and prompt
them to make connections with contemporary events. New
topics in this edition include family time; wartime oratory;
black history; and race, gender, and military service.

• xxiii
 AMERICa IN THE WORLD Essays
These fifteen essays focus on specific parallels
between American history and that of other
nations, and demonstrate the importance of the
many global influences on the American story.
Topics like the global industrial revolution, the
abolition of slavery, and the origins of the Cold
War provide concrete examples of the
connections between the history of the United
States and the history of other nations.

UNDERSTaND, ANaLYZE, aND

EVaLUaTE Review Questions
Appearing at the end of every
feature essay, these questions
encourage students to move beyond
memorization of facts and names to
explore the importance and
significance of the featured content.

xxiv •
Another random document with
no related content on Scribd:
Lempeni.

Kevähällä se liekehti leimuamaan minun lempeni lyhkäinen

— ees' syksyhyn asti se säilynyt ei: oli lasketut päivät ne sen.

Kevähällä se liekehti leimuamaan, ja lempeä suurt' oli se,

oli autuutta täynnä ja auvoa vaan sitä siksi en kaipaile.

Sun vertaisinko kukkaan nukkuvaan —

Sun vertaisinko kukkaan nukkuvaan, tuon laakson

lemmikkihin ihanaan, min katse on niin kaihomielinen, tai
taivon kevät-öisen tähtehen, mi läpi välkkyy sumun etäisen?

Sun katseesi on täynnä kaihoa kuin katse lemmikinkin

laaksossa, ja kaihomielin katsoo tähtikin tän elon murheisiin ja
taistoihin — niin katsoo se kuin katsot sinäkin.

Kulkuripoika.

Älä, äitini, itke ja vaikerra, Älä suotta sä huolia kanna!

Minun silmiini siintävi maailma, niin suurena, kauniina,
kirkkahana, ja mun täytyy se tuntea, nähdä, kotitöllissä viihdy
mä en!
 Kotitölli on ahdas ja pienoinen, mutta maailma on suuri ja
laaja; kotipeltoja muokata tahdo mä en: minä teitä ja polkuja
lemmitsen ja kulkurin pussia kannan ja riemuisa mieleni on.

Minun täytyvi maailman riemusta tuhat tuntea tuulahdusta!

Oi, äiti, jos tietäsit millaista on kaihota, kaihota, kaihota, ja mä
kaihoan, oi, minä kaihoan ulos ilmahan raittihiseen!

Ei viihdytä, ei, mua synkeys tää, tämä rauhallisuus, tämä

tuska! Tämä työ se on raskasta, jäädyttävää, vapautta mä
mielin jo hengittää — Oi, jääkösi hyvästi, äiti, nyt on riemuisa
poikasi sun!

Samettisilmä.

Hei, sinä heilani samettisilmä, kankahan kaunein kukka,

kuulehan kuinka ma haastan sulle, tyttöni pellavatukka!

Yksin on ollessa päivyet pitkät,

illat on ikävät, tummat;
yksin on ollessa murheisna mieli,
suuret on surujen summat.

Paras on meidänkin yhtehen mennä,

paras on paiskata kättä,
paras on luvata, ett' emme koskaan
aio toistamme jättää.

Mitä sinä arvelet, samettisilmä?

Hei, sinä hymyät mulle!
Siis se on päätetty, siis se on päätetty!
Tavarani annan ma sulle.

Minä annan sulle, ja sinä annat mulle,

yhtehen kaikki me lyödään,
yhdessä töllissä asutaan
ja yhdessä pöydässä syödään.

Hei sinä heilani samettisilmä!

Ilo nyt on alkava vasta!
Onnetar-neiti jo hellien katsoo
minuakin, syksyn lasta.

Voi sua, veitikka!

Voi sua, veitikka, voi sua, tyttö, kohta sä, kohta sä hurmasit
mun katseilla kummilla, silmillä tummilla: orjasi, orjasi nyt olen
sun.

Voi sua, veitikka, luullut en oisi, että mun voisit sä kahlehtia,

katseella yhdellä orjaksi tehdä, katseella yhdellä ainoalla.

Minä korpehen kauaksi muutan —

Minä korpehen kauaksi muutan, ja sinne mä töllini teen, ja

peltoni vierelle raivaan mä kuultavan, kirkkahan veen.
 Teen töllini hongista korven,
ikikuusista teen minä sen
ja tyttöni tummean saatan
mä alle sen orsien.

Me raadamme, raivaamme kaksin,

työn teemme me yhdessä,
ja vaikkakin pakkanen paukkuu,
niin meillä on lämmintä.

Ilo aina se kattohon kumpuu, ja kirkas on päivä ja yö, ei

raadanta raskaalta tunnu, on helppoa toimi ja työ.

Me soudamme siimeessä leppien —

Yö kaunis ja kirkas ja hiljainen, ja kuuttaret kultia valaa —

Me soudamme siimeessä leppien ja povemme liekkinä palaa.

Ja lainehet laulavat laulujaan

ves' soittavi kokassa venhon,
ja povi on tunteita tulvillaan
ja mieli on vallassa tenhon —

Me soudamme siimeessä leppien — ja syysyön sävelet

helkkää, ja poskill' on ruskotus aamuinen ja rinnoissa riemua
pelkkää —
Pimeyttä ma vain näin ympärilläin —

Pimeyttä ma vain näin ympärilläin, ja mieleni mun oli musta,

ja yö oli pohjassa sydämen, ja en löytänyt lohdutusta.

Mut' nyt olen kirkas ja valoisa,

ja nyt minä uskallan luottaa
ja katsoa silmihin murhetta
ja aamua onneni uottaa.

Sinä tyttönen, oi, sinä enkeli, sinä oot minun öitteni tähti,
sinä purppurin päärmäsit päiväni, ja sinusta mun voimani
lähti.

Metsolassa.

Leikkikäämme hetkinen kera pienten sirkkujen, nekin

ylhääll' oksillansa touhuilevat riemuissansa.

Hyv' on täällä leikkiä

salon suuren sinessä,
tanssia ja touhuella,
riemuita ja naureskella.

Nuoruus meill' on rinnassa, hartioill' ei huolia, ikuisesti

omanamme pitäkäämme nuoruuttamme.
Tän pojan laulu.

Kaksioista heiliä ollut on mulla ja nyt se on kolmastoista.

Kaunis on, armas ja sievä ja hellä — en ole nähnynnä moista!

Kuustoista vuotta se juuri nyt täytti,

kaunis se on kuni kukka;
silmät on siniset taivahan lailla,
tukka on pellavatukka.

Kakstoista heiliä ollut on mulla,

mutta nyt huoli en noista:
armaampi, armaampi, mieluisampi
on tämä kolmastoista.

Varsi on notkea, katse sen syvä,

käynti sen ketterä, sorja.
Voi miten, voi miten häntä mä lemmin!
Tyttöni oon minä orja.

Suvi kun saapuvi, lintuset taasen

laativat laulunpäitä,
silloinpa, silloinpa tämäkin poika
pulskeita viettävi häitä.

Silloinpa, silloinpa heilini saatan

pirttini orsien alle.
Hän kun on luonani, en minä koskaan
kaihoa maailmalle.
Sain ruusun sulta —

Sain ruusun sulta mä, neito kulta, sait laulun palkaksi siitä
sie. Nyt kuollut kukka on, tummatukka, ja kuollut lempemme
myöskin lie.

Sä läksit, neito, ja minä keito jäin yksin kaihoten suremaan.

Nyt povi palaa ja sydän halaa taas sua luokseni, sua vaan.

Oi, riennä, riennä ja tuska liennä, sä muista muinaista

lempeä! Suo ruusu mulle Vain sulle, sulle on silloin lauluni
helkkyvä.

Jääkylmin katsein katselet —

Jääkylmin katsein katselet sä aina, aina mua — Voi, oisko

aika mennyt tuo jo voinut unhoittua?

Jääkylmin katsein katselet,

et viihdy seurassani —
Voi, oisko taasen tyhjiä
mun olleet unelmani?

Mä lankeen yöhön pimeään,

oon murhemieliä keito.
Sä kartat, kartat katsettain,
käyt ohitseni, neito.
 Käyt ohitseni vieraana; et enää tunne mua. Voi, oisko aika
mennyt tuo jo voinut unhoittua?

Sen sinisen siimehen helmassa —

Ja sen sinisen siimehen helmassa kera impeni istuin mä.

Oli laskenut aurinko ammoin jo ja ilm' oli viileetä.

Kesäöinen rauha se leijueli

yli maitten ja mannerten.
Ja me lempeä leikkien istuttiin
ja haaveita hautoillen.

Ja sen sinisen siimehen helmassa

unet näimme me kauneimmat:
rusopilvet ne souteli taivaalla
ja auteret armaisat.

Ja sen sinisen siimehen helmassa

me uskoimme: onnea on,
ja onnea suurta ja korkeata,
ja sen määrä on mittaamaton.

Mut' oisiko elämän aalloilla nyt syntynyt usko jo uus': oi

missä on onni, mit' etsimme, oi missä on onnekkuus?!

Mä uskoin ennen unihin —

 Mä uskoin ennen unihin — nyt enää usko en: nyt uskon
vainen tyhjyyteen ja pimeytehen.

Mä uskoin silmiin tyttösen,

sinisiin silmihin;
mä uskoin kesään ikuiseen
ja ikikukkihin.

Unelma: tyhjyys — muuta ei;

sen jälkeen tuska saa
ja syksy synkkä sydämeen,
mi kukat kuolettaa.

Voi, mua poikaa poloista,

mies raukkaa etsivää!
Voi, yötä, mik' on ylläni,
niin tummaa, synkeää!

Mut' oma syyni: unihin mä miksi uskoinkin ja kesän

ikuisuutehen ja sinisilmihin.

Minä tahdon sun helmaani kietoa —

Minä tahdon sun helmaani kietoa ja painaa sun rintaani

vasten! Oi, ollahan ystävät, ollahan oi! Niin tapa on hyvien
lasten. Ja lapsia oomme me kumpikin — miks' emme me
hyviä oisi, miks' emme me yhdessä hymyillen ja toistemme
lemmestä nauttien elonpolkua kulkea voisi! Minä tahdon sun
helmaani kietoa, ja irti en päästä mä sua; minä tahdon, sä ett'
olet omani ja että sä lemmit mua! Oi, ollahan ystävät, ollahan
oi, niin riemua meillä on aina, satakielien soitot ne korviimme
soi, ja huolet ei harteilla paina, ja kaunis on päivä ja kirkas on
yö — Oi, tulkosi helmaani, kulta! Oi, kuuletko rintaani, kuinka
se lyö: saat lempeni liekkivän multa! Me käykäämme lempien,
leikkien ilahuttaen toistamme, tyttönen, tämä taipale loppuun
saakka; ja vihdoin, kun ehtinyt ilta on, ja kellot ne vuorilta
soivat, me yhdessä painumme lepohon me uinumme huulilla
hymy, ja silmissä siintävä päivä.
 *** END OF THE PROJECT GUTENBERG EBOOK SYKSYISIÄ
SÄVELIÄ ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
 License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
 Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of