social standing, tradition and culture, and given in the rather complex family story of The Marshalls a social document of unique and refreshing value. In such a story, race fiction, detaching itself from the limitations of propaganda on the one hand and genre fiction on the other, emerges from the color line and is incorporated into the body of general and universal art.
Finally in Jean Toomer, the author of Cane, we come upon the very first artist of the race, who with all an artist's passion and sympathy for life, its hurts, its sympathies, its desires, its joys, its defeats and strange yearnings, can write about the Negro without the surrender or compromise of the artist's vision. So objective is it, that we feel that it is a mere accident that birth or association has thrown him into contact with the life he has written about. He would write just as well, just as poignantly, just as transmutingly, about the peasants of Russia, or the peasants of Ireland, had experience brought him in touch with their existence. Cane is a book of gold and bronze, of dusk and flame, of ecstasy and pain, and Jean Toomer is a bright morning star of a new day of the race in literature.
