for their work in prose than in poetry: W. E. B. Du Bois whose well-known prose at its best is, however, impassioned and rhythmical; and Benjamin Brawley who is the author, among other works, of one of the best handbooks on the English drama that has yet appeared in America.
But the group of the new Negro poets, whose work makes up the bulk of this anthology, contains names destined to be known. Claude McKay, although still quite a young man, has already demonstrated his power, breadth and skill as a poet. Mr. McKay's breadth is as essential a part of his equipment as his power and skill. He demonstrates mastery of the three when as a Negro poet he pours out the bitterness and rebellion in his heart in those two sonnet-tragedies, "If We Must Die" and "To the White Fiends," in a manner that strikes terror; and when as a cosmic poet he creates the atmosphere and mood of poetic beauty in the absolute, as he does in "Spring in New Hampshire" and "The Harlem Dancer." Mr. McKay gives evidence that he has passed beyond the danger which threatens many of the new Negro poets—the danger of allowing the purely polemical phases of the race problem to choke their sense of artistry.
Mr. McKay's earliest work is unknown in this country. It consists of poems written and published in his native Jamaica. I was fortunate enough to run across this first volume, and I could not refrain from reproducing here one of the poems written in the West Indian Negro dialect. I have done this not only to illustrate the widest range of the poet's talent and to
