story is hardly living up to its opportunities. But almost every one of these stories is written in a tone of condescension. The artists have caught the contagion from the writers, and the illustrations are ninety-nine times out of a hundred purely slapstick stuff. Stories and pictures make a Roman holiday for the millions who are convinced that the most important fact about the Negro is that his skin is black. Many of these writers live in the South or are from the South. Presumably they are well acquainted with the Negro, but it is a remarkable fact that they almost never tell us anything vital about him, about the real human being in the black man's skin. Their most frequent method is to laugh at the colored man and woman, to catalogue their idiosyncrasies, their departure from the norm, that is, from the ways of the whites. There seems to be no suspicion in the minds of the writers that there may be a fascinating thought life in the minds of the Negroes, whether of the cultivated or of the most ignorant type. Always the Negro is interpreted in the terms of the white man. White-man psychology is applied and it is no wonder that the result often shows the Negro in a ludicrous light."
I shall have to run back over the years to where I began to survey the achievement of Negro authorship. The Negro as a creator in American literature is of comparatively recent importance. All that was accomplished between Phyllis Wheatley and Paul Laurence Dunbar, considered by critical standards, is negligible, and of historical interest only. Historically it is a great tribute to the race to have produced in Phyllis Wheatley not only the slave poetess in eighteenth century Colonial America, but to know she was as good, if not a better, poetess than Ann Bradstreet whom literary historians give the honor of being the first person of her sex to win fame as a poet in America.
Negro authorship may, for clearer statement, be classified into three main activities: Poetry, Fiction, and the Essay, with an occasional excursion into other branches. In the drama,
