tions presented. However indifferent and negative it may seem, there is the latent desire in most readers to have honesty of purpose and a full vision in the artist: and especially in fiction, a situation handled with gloves can never be effectively handled.
The first hint that the American artist was looking at this subject with full vision was in Torrence's Granny Maumee. It was drama, conceived and executed for performance on the stage, and therefore had a restricted appeal. But even here the artist was concerned with the primitive instincts of the Race, and, though faithful and honest in his portrayal, the note was still low in the scale of racial life. It was only a short time, however, before a distinctly new development took place in the treatment of Negro life by white authors. This new class of work honestly strove to endow the Negro life with purely æsthetic vision and values, but with one or two exceptions, still stuck to the peasant level of race experience, and gave, unwittingly, greater currency to the popular notion of the Negro as an inferior, superstitious, half-ignorant and servile class of folk. Where they did in a few isolated instances recognize an ambitious impulse, it was generally defeated in the course of the story.
Perhaps this is inevitable with an alien approach, however well-intentioned. The folk lore attitude discovers only the lowly and the naïve: the sociological attitude finds the problem first and the human beings after, if at all. But American art in a reawakened seriousness, and using the technique of the new realism, is gradually penetrating Negro life to the core. George Madden Martin, with her pretentious foreword to a group of short stories, The Children in the Mist,—and this is an extraordinary volume in many ways—quite seriously tried, as a Southern woman, to elevate the Negro to a higher plane of fictional treatment and interest. In succession, followed Mary White Ovington's The Shadow, in which Miss Ovington daringly created the kinship of brother and sister between a black boy and white girl, had it brought to disaster by prejudice, out of which the white girl rose to a sacrifice no white girl in a novel had hitherto accepted and endured; then
