【单选题】

My writing in my late teens and early adulthood was fashioned after the U.S. short stories and poetry taught in the high schools of the 1940s and 1950s, but by the 1960s, after I had gone to college and dropped out and served in the military, I began to develop topics and themes from my NativeAmerican backgrounD、The experience in my village ofDeetziyamah andAcoma Pueblo was readily accessible. My mother was a potter of the well-knownAcoma clayware. My father carved figures from wood and did beadwork. There was always some kind of artistic endeavor that NativeAmerican people, set themselves to, although they did not necessarily articulate it as "Art" in the sense of Western civilization. When I turned my attention to my own heritage, I did so because this was my identity, and I wanted to write about what that meant. My desire was to write about the integrity and dignity of a NativeAmerican identity, and at the same time I wanted to look at what this was within the context of anAmerica that had too often denied its NativeAmerican heritage.

To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally within an atmosphere of NativeAmerican resistance. TheAcoma Pueblo, despite losing much of their land and surrounded by a foreign civilization, have not lost sight of their native heritage.At times, in the past, it was outright armed struggle; currently, it is often in the legal arena, and it is in the field of literature.
In 1981, when I was invited to the White House for an event celebratingAmerican poets and poetry, I did not immediately accept the invitation. I questioned myself about the possibility that I was merely being exploited as an Indian, and I hedged against accepting.But then I recalled the elders going among our people in the poor days of the 1950s, asking for donations in order to finance a trip to the nation’s capital. They were to make another countless appeal on behalf of our people, to demand justice, to reclaim lost land even though there was only spare hope they would be successful. I went to the White House realizing that I was to do no less than they and those who had fought in the Pueblo Revolt of 1680, and I read my poems and sang songs that were later described as "guttural" by a Washington,D、C、newspaper. I suppose it is more or less understandable why such a view of NativeAmerican literature is held by many, and it is also clear why there should be a political stand taken in my writing and those of my sister and brother NativeAmerican writers.
The 1960s and afterward have been an invigorating and liberating period for NativeAmerican people. It has been only a little more than twenty years since NativeAmerican writers began to write and publish extensively, but we are writing and publishing more and more; we can only go forwarD、We come from an ageless, continuing oral tradition that informs us of our values, concepts, and notions as native people, and it is amazing how much of this tradition is ingrained so deeply in our contemporary writing, considering the brutal efforts of cultural repression that was not long ago outright U.S. policy. In spite of the fact that there is to some extent the same repression today, we persist and insist in living, believing, hoping, loving, speaking, and writing as NativeAmericans.
What is the meaning of the word "spare" as it is used in Paragraph 3 of the selection
A、Frugal.
B．Extr
A、
C．Meager.
D．Fre