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to his origin on this continent, the Negro was projected into literature by an over-mastering and exploiting hand. In the generations that he has been so voluminously written and talked about he has been accorded as little artistic justice as social justice. Ante-bellum literature imposed the distortions of moralistic controversy and made the Negro a wax-figure of the market place: post-bellum literature retaliated with the condescending reactions of sentiment and caricature, and made the Negro a genre stereotype. Sustained, serious or deep study of Negro life and character has thus been entirely below the horizons of our national art. Only gradually through the dull purgatory of the Age of Discussion, has Negro life eventually issued forth to an Age of Expression.

Perhaps I ought to qualify this last statement that the Negro was in American literature generations before he was part of it as a creator. From his very beginning in this country the Negro has been, without the formal recognition of literature and art, creative. During more than two centuries of an enslaved peasantry, the race has been giving evidence, in song and story lore, of an artistic temperament and psychology precious for itself as well as for its potential use and promise in the sophisticated forms of cultural expression. Expressing itself with poignancy and a symbolic imagery unsurpassed, indeed, often unmatched, by any folk-group, the race in servitude was at the same time the finest national expression of