Presenting Analysis, Context, and Criticism on Nonfiction WorksAn Offprint fromNonfiction Classicsfor StudentsNonfiction Classics for StudentsProject EditorDavid GalensEditorialSara Constantakis, Elizabeth A. Cranston, Kristen A. Dorsch, Anne Marie Hacht, Madeline S. Harris, Arlene Johnson, Michelle Kazensky, Ira Mark Milne, Polly Rapp, Pam Revitzer, Mary Ruby, Kathy Sauer, Jennifer Smith, Daniel Toronto, Carol Ullmann ResearchMichelle Campbell, Nicodemus Ford, Sarah Genik, Tamara C. Nott, Tracie Richardson Data CaptureBeverly JendrowskiPermissionsMary Ann Bahr, Margaret Chamberlain, KimDavis, Debra Freitas, Lori Hines, Jackie Jones,Jacqueline Key, Shalice Shah-CaldwellImaging and MultimediaRandy Bassett, Dean Dauphinais, RobertDuncan, Leitha Etheridge-Sims, Mary Grimes,Lezlie Light, Jeffrey Matlock, Dan Newell,Dave Oblender, Christine O'Bryan, Kelly A.Quin, Luke Rademacher, Robyn V. YoungProduct DesignMichelle DiMercurio, Pamela A. E. 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For more information, contactThe Gale Group, Inc27500 Drake Rd.Farmington Hills, MI 48334-3535Or you can visit our Internet site at ALL RIGHTS RESERVED.No part of this work covered by the copyrighthereon may be reproduced or used in anyform or by any means—graphic, electronic, ormechanical, including photocopying, record-ing, taping, Web distribution or informationstorage retrieval systems—without the writtenpermission of the publisher.For permission to use material from this prod-uct, submit your request via Web at/permissions, or youmay download our Permissions Request formand submit your request by fax or mail to:Permissions DepartmentThe Gale Group, Inc27500 Drake Rd.Farmington Hills, MI 48331-3535Permissions Hotline:248-699-8006 or 800-877-4253, ext. 8006Fax: 248-699-8074 or 800-762-4058Since this page cannot legibly accommo-date all copyright notices, the acknowl-edgments constitute an extension of thecopyright notice.While every effort has been made tosecure permission to reprint material andto ensure the reliability of the informa-tion presented in this publication, TheGale Group, Inc. does not guarantee the accu-racy of the data contained herein. The GaleGroup, Inc. accepts no payment for listing; andinclusion in the publication of any organiza-tion, agency, institution, publication, service,or individual does not imply endorsement ofthe editors or publisher. Errors brought to theattention of the publisher and verified to thesatisfaction of the publisher will be correctedin future editions.Printed in the United States of AmericaISSN 1533-7561IntroductionPurpose of the BookThe purpose of Nonfiction Classics for Stu-dents (NCfS) is to provide readers with a guide to understanding, enjoying, and studying nonfiction works by giving them easy access to information about the work. Part of Gale’s ‘‘For Students’’literature line, NCfS is specifically designed to meet the curricular needs of high school and undergradu-ate college students and their teachers, as well as the interests of general readers and researchers consid-ering specific works. While each volume contains entries on ‘‘classic’’ works frequently studied in classrooms, there are also entries containing hard-to-find information on contemporary pieces, in-cluding works by multicultural, international, and women authors.The information covered in each entry includes an introduction to the work and the work’s author; a summary, to help readers unravel and understand the events in a work; descriptions of key figures, including explanation of a given figure’s role in the work as well as discussion about that figure’s rela-tionship to other figures in the work; analysis of important themes in the work; and an explanation of important literary techniques and movements as they are demonstrated in the work.In addition to this material, which helps the readers analyze the work itself, students are also provided with important information on the literary and historical background informing each work.This includes a historical context essay, a box comparing the time or place the work was written to modern Western culture, a critical essay, and ex-cerpts from critical essays on the work, when avail-able. A unique feature of NCfS is a specially com-missioned critical essay on each work, targeted toward the student reader.To further aid the student in studying and enjoying each work, information on media adapta-tions is provided, as well as reading suggestions for works of fiction and nonfiction on similar themes and topics. Classroom aids include ideas for re-search papers and lists of critical sources that pro-vide additional material on each work. Selection CriteriaThe titles for each volume of NCfS were se-lected by surveying numerous sources on teaching literature and analyzing course curricula for various school districts. Some of the sources surveyed in-cluded: literature anthologies; Reading Lists for College-Bound Students: The Books Most Recom-mended b y America’s Top Colleges; a College Board survey of works commonly studied in high schools; a National Council of Teachers of English (NCTE) survey of works commonly studied in high schools; Arthur Applebee’s 1993 study Literature in the Secondary School: Studies of Curriculum and Instruction in the United States; and the Modern Library’s list of the one hundred best nonfiction works of the century.x iI n t r o d u c t i o nN o n f i c t i o n C l a s s i c s f o r S t u d e n t sx i i Input was also solicited from our expert advi-sory board, as well as educators from various areas.From these discussions, it was determined that each volume should have a mix of ‘‘classic’’ works (those works commonly taught in literature classes)and contemporary works for which information is often hard to find. Because of the interest in ex-panding the canon of literature, an emphasis was also placed on including works by international,multicultural, and women authors. Our advisory board members—educational professionals—helped pare down the list for each volume. If a work was not selected for the present volume, it was often noted as a possibility for a future volume. As always, the editor welcomes suggestions for titles to be included in future volumes.How Each Entry Is OrganizedEach entry, or chapter, in NCfS focuses on one work. Each entry heading lists the full name of the work, the author’s name, and the date of the work’s publication. The following elements are contained in each entry:•Introduction: a brief overview of the work which provides information about its initial publication, its literary standing, any contro-versies surrounding the work, and major con-flicts or themes within the work.•Author Biography: this section includes basic facts about the author’s life and focuses on events and times in the author’s life that in-spired the work in question.•Summary: a description of the major events in the work. Subheads demarcate the work’s vari-ous chapters or sections.•Key Figures: an alphabetical listing of major figures in the work. Each name is followed by a brief to an extensive description of the person’s role in the works, as well as discussion of the figure’s actions, relationships, and possible motivation.Figures are listed alphabetically by last name. If a figure is unnamed—for instance, the narrator in Pilgrim at Tinker Creek —the figure is listed as ‘‘The Narrator’’ and alphabetized as ‘‘Narra-tor.’’ If a person’s first name is the only one given, the name will appear alphabetically by the name. Variant names are also included for each person. Thus, the full name ‘‘Richard Monckton Milnes’’ would head the listing for a figure inThe Education of Henry Adams, but listed in a separate cross-reference would be his more for-mal name ‘‘Lord Houghton.’’•Themes: a thorough overview of how the major topics, themes, and issues are addressed within the work. Each theme discussed appears in a separate subhead, and is easily accessed through the boldface entries in the Subject/Theme Index.•Style: this section addresses important style ele-ments of the work, such as setting, point of view, and narration; important literary devices used, such as imagery, foreshadowing, sym-bolism; and, if applicable, genres to which the work might have belonged, such as Gothicism or Romanticism. Literary terms are explained within the entry but can also be found in the Glossary.•Historical Context: This section outlines the social, political, and cultural climate in which the author lived and the work was created. This section may include descriptions of related historical events, pertinent aspects of daily life in the culture, and the artistic and literary sensibilities of the time in which the work was written. If the piece is a historical work, infor-mation regarding the time in which the work is set is also included. Each section is broken down with helpful subheads.•Critical Overview: this section provides back-ground on the critical reputation of the work,including bannings or any other public contro-versies surrounding the work. For older works,this section includes a history of how the work was first received and how perceptions of it may have changed over the years; for more recent works, direct quotes from early reviews may also be included.•Criticism: an essay commissioned by NCfS which specifically deals with the work and is written specifically for the student audience, as well as excerpts from previously published criticism on the work, when available.•Sources: an alphabetical list of critical material used in the compilation of the entry, with full bibliographical information.•Further Reading: an alphabetical list of other critical sources that may prove useful for the student. It includes full bibliographical infor-mation and a brief annotation.I n t r o d u c t i o nV o l u m e 4x i i iIn addition, each entry contains the following highlighted sections, set separate from the main text:•Media Adaptations: a list of important film and television adaptations of the work, including source information. The list may also include such variations on the work as audio record-ings, musical adaptations, and other stage interpretations.•Topics for Further Study: a list of potential study questions or research topics dealing with the work. This section includes questions re-lated to other disciplines the student may be studying, such as American history, world his-tory, science, math, government, business, ge-ography, economics, psychology, etc.•Compare and Contrast: an ‘‘at-a-glance’’ com-parison of the cultural and historical differ-ences between the author’s time and culture and late twentieth-century/early twenty-first century Western culture. This box includes pertinent parallels between the major scien-tific, political, and cultural movements of the time or place the work was written, the time or place the work was set (if a historical work),and modern Western culture. Works written after 1990 may not have this box.•What Do I Read Next?: a list of works that might complement the featured work or serve as a contrast to it. This includes works by the same author and others, works of fiction and nonfiction, and works from various genres,cultures, and eras.Other FeaturesNCfS includes ‘‘Literature: Conversation, Com-munication, Idea, Emotion,’’ a foreword by Carol Dell’Amico, an educator and author. This essay examines nonfiction as a lasting way for authors to communicate as well as the influence these works can have. Dell’Amico also discusses how Nonfic-tion Classics for Students can help teachers show students how to enrich their own reading experi-ences and how the series is designed to aid students in their study of particular works.A Cumulative Author/Title Index lists the au-thors and titles covered in each volume of the NCfS series.A Cumulative Nationality/Ethnicity Index breaks down the authors and titles covered in each volume of the NCfS series by nationality and ethnicity.A Subject/Theme Index, specific to each vol-ume, provides easy reference for users who may be studying a particular subject or theme rather than a single work. Significant subjects from events to broad themes are included, and the entries pointing to the specific theme discussions in each entry are indicated in boldface.Entries may include illustrations, including pho-tos of the author, stills from stage productions, and stills from film adaptations.Citing Nonfiction Classics for StudentsWhen writing papers, students who quote di-rectly from any volume of Nonfiction Classics for Students may use the following general forms.These examples are based on MLA style; teachers may request that students adhere to a different style,so the following examples may be adapted as needed.When citing text from NCfS that is not attrib-uted to a particular author (for example, the Themes,Style, Historical Context sections, etc.), the follow-ing format should be used in the bibliography section:‘‘The Journalist and the Murderer.’’ Nonfiction Clas-sics for Students. Ed. Elizabeth Thomason. Vol. 1.Farmington Hills, MI: The Gale Group, 2001, pp.153–56.When quoting the specially commissioned es-say from NCfS (usually the first piece under the "Criticism" subhead), the following format should be used:Hart, Joyce. Critical Essay on ‘‘Silent Spring.’’ Non-fiction Classics for Students. Ed. Elizabeth Thomason.Vol. 1. Farmington Hills, MI: The Gale Group, 2001,pp. 316–19.When quoting a journal or newspaper essay that is reprinted in a volume of NCfS, the following form may be used:Limon, J ohn. ‘‘The Doub le Helix as Literature.’’Raritan Vol. 5, No. 3 (Winter 1986), pp. 26–47;excerpted and reprinted in Nonfiction Classics for Students, Vol. 2, ed. Elizabeth Thomason (Farming-ton Hills, MI: The Gale Group, 2001), pp. 84–95.When quoting material reprinted from a book that appears in a volume of NCfS, the following form may be used:Gunnars, Kristjana. ‘‘Life as Fiction: Narrative Appro-priation in Isak Dinesen’s Out of Africa ,’’ in Isak Dinesen and Narrativity , ed. Gurli A. Woods, (Carleton University Press, 1990), pp. 25–34; excerpted and reprinted in Nonfiction Classics for Students, Vol. 2,ed. Elizabeth Thomason (Farmington Hills, MI: The Gale Group, 2001), pp. 281–86.I n t r o d u c t i o nN o n f i c t i o n C l a s s i c s f o r S t u d e n t sx i v We Welcome Your SuggestionsThe editor of Nonfiction Classics for Students welcomes your comments and ideas. Readers who wish to suggest works to appear in future volumes or who have other suggestions are cordially invited to contact the editor. You may contact the editor via E-mail at: ForStudentsEditors@. Or write to the editor at:Editor, Nonfiction Classics for Students The Gale Group 27500 Drake Rd.Farmington Hills, MI 48331–3535AcknowledgmentsThe editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Li-brary, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Follow-ing is a list of the copyright holders who have granted us permission to reproduce material in this volume of Nonfiction Classics for Students (NCfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.COPYRIGHTED MATERIAL IN NCfS, VOLUME 1, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:Americas, v. 47, November-December, 1995.©1995 Américas. Reprinted by permission of Américas, a bimonthly magazine published by the General Secretariat of the Organization of Ameri-can States in English and Spanish.—A Review of International English Literature, v. 20, July, 1989 for ‘‘But We Argued About Novel-Writing: Vir-ginia Woolf, E. M. Forster and the Art of Fiction,’’by Ann Henley. Copyright ©1989 The Board of Governors, The University of Calgary. Reproduced by permission of the publisher and the author.—Commentary, v. 90, November, 1990 for ‘‘Depres-sion-as-Disease,’’ by Carol Iannone./ v. 107, Janu-ary, 1999 for ‘‘First in Flight,’’ by Sam Tanenhaus. Copyright ©1990, 1999 by the American Jewish Committee. All rights reserved. Both reproduced by permission of the publisher and the author.—Dis-sent, Fall, 1995 for ‘‘Rachel Carson’s Silent Spring’’by Yaakov Garb. ©1995, by Dissent Publishing Corporation. Reprinted by permission of the pub-lisher and the author.—First Things, n. 75, August-September, 1997. Reproduced by permission.—Journal of American Folklore, v. 104, Summer, 1991 for ‘‘The Failure of Folklore in Richard Wright’s Black Boy,’’ by Jay Mechling. Repro-duced by permission of the American Folklore Society from Journal of American Folklore and the author.—Journal of Feminist Studies in Religion,v. 6, Spring, 1990. Reproduced by permission.—MELUS: Society for the Study of the Multi-Ethnic Literature of the United States, v. 22, Summer, 1997. Copyright, MELUS: The Society for the Study of Multi-Ethnic Literature of the United States, 1997. Reproduced by permission.—The Nation (New York), v. 250, June 25, 1990; v. 265, November 3, 1997. ©1990, 1997 The Nation magazine/The Nation Company, Inc. Both reproduced by permission.—National Review, v. l, October 26, 1998. Copyright©1988 by National Review, Inc, 215 Lexington Avenue. New York, NY 10016. Reproduced by permission.—The New Republic, v. 221, Novem-ber 1, 1999. ©1999 The New Republic, Inc. Repro-duced by permission of The New Republic.—Northx i xA c k n o w l e d g m e n t sN o n f i c t i o n C l a s s i c s f o r S t u d e n t sx x Dakota Quarterly , v. 56, Summer, 1988. Copyright 1988 by The University of North Dakota. Repro-duced by permission.—South Atlantic Quarterly ,v. 82, Spring, 1983. Copyright ©1983 by Duke University Press. Reproduced by permission.—Style ,v. 27, Summer, 1993 for ‘‘Richard Wrights and the African-American Autobiography Tradition’’ by William L. Andrews. Copyright ©Style, 1993. All rights reserved. Reproduced by permission of the publisher and the author.—Technology and Cul-ture , v. 30, October, 1989. ©The Johns Hopkins University Press. Reproduced by permission.—Tulane Studies in English, v. 22, 1977. Copyright ©1977 by Tulane University. Reproduced by per-mission.—Washington Monthly , v. 22, May, 1990.Reproduced with permission from The Washington Monthly. Copyright by the Washington Monthly Company, 1611 Connecticut Ave., N.W., Washing-ton, D.C. 20009 (202) 4462–0128.—The Women’s Review of Books , v. xiii, November, 1995 for ‘‘In the House of Spirits’’ by Ruth Behar. Copyright ©1995. All rights reserved. Reproduced by permis-sion of the author.COPYRIGHTED MATERIAL IN NCfS,VOLUME 1, WERE REPRODUCED FROM THE FOLLOWING BOOKS:Colmer, John. From E.M. Forster: The Per-sonal Voice . Routledge & Kegan Paul. ©John Colmer 1975. Reproduced by permission.—Horowitz, Howard. From New Essays on The Edu-cation of Henry Adams . Edited by John Carlos Rowe. Cambridge University Press, 1996. ©Cam-bridge University Press 1996. Reproduced with permission of Cambridge University Press and the author.—Thompson, Kenneth W. From Toynbee’s Philosophy of World History and Politics . Louisi-ana State University Press, 1985. Copyright ©1985by Louisiana State University Press. All rights reserved. Reproduced by permission of Louisiana State University Press.PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN NCfS , VOLUME 1, WERE RECEIVED FROM THE FOLLOWING SOURCES:Adams, Henry, illustration by P. Ruller.—Allende, Isabel, photograph. Archive Photos. Repro-duced by permission.—Allende, Salvador, photo-graph. UPI/Bettmann. Reproduced by permission.—Austen, Jane, engravings. Source unknown.—Bail,Horace, sitting on porch of former slave shack,photograph. Corbis. Reproduced by permission.—Berg, A. Scott, photograph. Aloma. Reproduced by permission.—Bohr, Niels, photograph. The Library of Congress.—Carson, Rachel L., photo-graph. UPI/Bettmann Newsphotos. Reproduced by permission.—‘‘Colored Drinking Fountain,’’ pho-tograph. The Library of Congress.—Corliss Engine,illustration. The Library of Congress.—Cover of ‘‘Le Petit Journal,’’ photograph by Leonard de Selva. Corbis. Reproduced by permission.—Depressed women, sitting in window, photograph.©1992 Science Photo Lib. Custom Medical Stock Photo. Reproduced by permission.—Dillard, Annie,photograph. Jerry Bauer. Reproduced by permis-sion.—DuBois, W.E.B., photograph. The Bettmann Archive. Reproduced by permission.—Forster, E. M.,photograph. Archive Photos, Inc. Reproduced by permission.—Goldstein, Gee, with her son Rob-ert, photograph. Bettmann/Corbis. Reproduced by permission.—Guy, George H., 1961, Mississippi,photograph. AP/Wide World Photos, Inc. Repro-duced by permission.—Hardy, Thomas, photograph.Archive Photos, Inc. Reproduced by permission.—Interior of the British Museum of Egyptian an-tiquities, photograph by Peter Aprahamian. Corbis.Reproduced by permission.—Kincaid, Jamaica, pho-tograph by Adam Riesner. The Liaison Agency Network. Reproduced by permission.—La Mondeda/Plaza dl. Libertad, photograph Susan D. Rock.Reproduced by permission.—Levi, Primo, photo-graph by Jerry Bauer. ©Jerry Bauer. Reproduced by permission.—Lindbergh, Anne Morrow, hold-ing her baby Charles Jr., photograph. ©Bettmann/Corbis. Reproduced by permission.—Lindbergh,Charles, photograph. The Library of Congress.—Lippman, Walter, photograph. Archive Photos, Inc.Reproduced by permission.—MacDonald, Dr.Jeffrey, being interviewed after being released from prison, photograph. ©Bettmann/Corbis. Reproduced by permission.—Malcolm, Janet. ©Jerry Bauer.Reproduced by permission.—McCourt, Frank, pho-tograph by Jerry Bauer. ©Jerry Bauer. Reproduced by permission.—McGinniss, Joe, photograph. AP/Wide World Photos. Reproduced by permission.—Merton, Thomas, photograph. The Library of Con-gress.—Mushroom cloud rising from Baker Day atomic bomb blast at Bikini Island, photograph.Corbis. Reproduced by permission.—Rastafarian man standing behind banner, photograph by Dan-iel Laine. Corbis. Reproduced by permission.—Rhodes, Richard, standing in front of the Atom Bomb Dome, photograph. Reproduced by permis-sion.—Scene from the film ‘‘Angela’s Ashes,’’photograph. The Kobal Collection. Reproduced by permission.—Scopes Trial, photograph. UPI/Corbis-Bettmann. Reproduced by permission.—St. Pat-A c k n o w l e d g m e n t sV o l u m e 1x x irick’s Roman Catholic Cathedral, photograph by Michael St. Maur Sheil. Corbis. Reproduced by permission.—Street scene, with volcano in the dis-tance, Antigua, Guatemala, photograph by David Johnson. Reproduced by permission.—Styron, Wil-liam, New York City, 1990, photograph. AP/Wide World Photos. Reproduced by permission.—Three white-tailed does, eating from shrubs in the Appala-chian Trail, Shenandoah National Park, photograph by Raymond Gehman. Corbis. Reproduced by per-mission.—Thucydides, illustration. The Library of Congress.—Toynbee, Arnold J., photograph. Hulton-Deutsche Collection/Corbis. Reproduced by per-mission.—Washington, Booker T, photograph.—Worker in protective photograph by Ed Young.Corbis. Reproduced by permission.—Wright, Rich-ard, photograph. AP/Wide World Photos, Inc. Repro-duced by permission.345A Study of HistoryArnold J. Toynbee 1934–1961Arnold Toynbee’s multi-volume A Study of History is one of the major works of historical scholarship published in the twentieth century. The first volume was published in London in 1934, and subsequent volumes appeared periodically until the twelfth and final volume was published in London in 1961. A two-volume abridgement of volumes 1–10 was prepared by D. C. Somervell with Toynbee’s coop-eration and published in 1947 (volume one) and 1957 (volume two) in London.A Study of History in its original form is a huge work. The first ten volumes contain over six thou-sand pages and more than three million words.Somervell’s abridgement, containing only about one-sixth of the original, runs to over nine hundred pages. The size of the work is in proportion to the grandeur of Toynbee’s purpose, which is to analyze the genesis, growth, and fall of every human civili-zation ever known. In Toynbee’s analysis, this amounts to five living civilizations and sixteen extinct ones, as well as several that Toynbee defines as arrested civilizations.Toynbee detects in the rise and fall of civiliza-tions a recurring pattern, and it is the laws of history behind this pattern that he analyzes in A Study of History .From the outset, A Study of History was a controversial work. It won wide readership amongst the general public, especially in the United States,and after World War II Toynbee was hailed as aprophet of his times. On the other hand, his work was viewed with skepticism by academic histori-ans, many of whom argued that his methods were unscientific and his conclusions unreliable or sim-ply untrue. Despite these criticisms, however, A Study of History endures as a provocative vision of where humanity has been, and why, and where it may be headed.Arnold J. Toynbee was born in London on April 14, 1889, the son of Harry V. Toynbee, a social worker, and Sarah Edith Marshall Toynbee, a historian. Showing academic promise at a young age, Toynbee won scholarships to attend Winchester School from 1902 to 1907, and then Balliol College, Oxford, where he studied Classics and graduated in 1911. In the same year, Toynbee pursued his interest in ancient Greek history by studying at the British Archeological School in Athens. In 1912, he be-came a fellow and tutor at Balliol College, a posi-tion he held for three years. Unable to perform military service because of his health, during World War I he worked in the Political Intelligence De-partment of the War Office and was a member of the British delegation at the Paris Peace Conference in 1919. He also held the Koraes Chair of Byzantine and Modern Greek Studies at London Univer-sity in 1919.In 1925, Toynbee began a thirty-year tenure as director of studies at the Royal Institute of Interna-tional Affairs and professor of international history at London University. He was a prolific author, writing more than 140 articles and books between 1921 and 1934, including The Western Question in Greece and Turkey(1922), Greek Historical Thought(1924), Greek Civilisation and Charac-ter (1924), the annual Survey of International Af-fairs (1923–1927), and A Journey to China (1931). He was also at work on A Study of History, for which he is best known. The first three volumes of this investigation into the rise and fall of civiliza-tions were published in 1934; volumes 4–6 fol-lowed in 1939.From 1943 until 1946, Toynbee directed the Research Department at the Foreign Office. He also attended the second Paris Peace Conference as a British delegate. In 1954, volumes 7–10 of A Study of History were published. An abridged version,prepared by D. C. Somervell with Toynbee’s coop-eration, appeared in two volumes (1947 and 1957).Toynbee’s massive work made him one of the best-known historians of his time although it also proved controversial. The final, twelfth volume, Reconsiderations (1961), was an attempt to answer his many critics.After finishing A Study of History, Toynbee continued to publish at a prolific rate. Between 1956 and 1973, he wrote sixteen books. These included An Historian’s Approach to Religion(1956), in which he advocated a return to spiritual values, Change and Habit: The Challenge of Our Time (1966), in which he suggested that China might emerge as a unifying influence in world affairs, and the autobiographical Experiences (1969).Toynbee married Rosalind Murray in 1912, and they had two children. The marriage ended in di-vorce in 1945. In 1946, Toynbee married Veronica Marjorie Boulter, a research associate and writer. They collaborated in writing the Survey of Interna-tional Affairs.Toynbee died in York, England, on October 22, 1975.Chapter 1: The Unit of Historical Study In A Study of History, Toynbee first identifies the unit that should be the object of the historian’s study. This unit is not an individual nation but an entire civilization. Toynbee identifies five living civilizations: Western Christian, Orthodox Chris-tian, Islamic, Hindu, and Far Eastern. In addition there are sixteen extinct civilizations from which living civilizations developed. Toynbee then makes a distinction between primitive societies, of which there are many, and civilizations, which are com-paratively few. He dismisses the idea that there is now only one civilization, the West, and also the notion that all civilization originated in Egypt. Chapter 2: Geneses of Civilizations How do civilizations emerge from primitive societies? For Toynbee, the answer does not lie in race; nor does an easy environment provide a key to the origins of civilization. On the contrary, civiliza-tions arise out of creative responses to difficult situations. It is difficulty, rather than ease, that proves the stimulus. Toynbee identifies five chal-。