On the stage, on the platform, in the pulpit and in conversation, the Negro has demonstrated a power in the use of speech that has well won him a merited distinction. This fluency and force of language, so often found in striking disparity to his other attainments, has armed critics and students of his racial peculiarities with the opinion that talking is his peculiar forte.
Such an opinion does not obtain, however, in the face of noble examples of this race who have the art of forcibly and correctly writing great thoughts.
The great cause of the Christian religion has furnished the field for more writers of this race than any other. This is noted, not as a fault, but rather to confirm the fact that since the emancipation, the training of the Negro, both at school and in his home, has been largely religious, owing to his inborn susceptibility to religious impressions, and his well known proneness to abide by the teachings of his fathers; it is no marvel that the major portion of his written thoughts should be deeply tinged with religious ideas.
Even in his occasional contributions to current literature, and when he is making an attack or a defense, right often does the religious effusion predominate.
Until about twenty years ago, rare were the instances where Negro writers had produced books and other productions on other than religious subjects. And even at the present the number of secular writers is not large, considering the opportunities for writers of this class and the profits available. There are certain advantages, strange to relate, that the Negro has, that might be called natural. The great realm of thought, through which fiction and mental analysis holds undisputed sway, is not circumscribed by caste and other invidious discriminations as are most other avenues, through which the bravest souls essay to traverse, but are either crushed down or are ejected. Perhaps this is why, in cases that have doubtless come under the observation of all readers of the productions of Negro writers, there is a tendency toward recklessness.
But it will be equitable and fair to take under consideration only those Negro writers, who have won more or less distinction as such, while discussing the Negro as a writer.
From Alexander Dumas to the latest celebrity among Negro writers, the close observer of racial traits is furnished with vivid evidences of methods of thought that are peculiar to this people. In imagery, there is that floridity that goes dazzling to the sublime with a brilliancy that is captivating. If sorrow is depicted, his course through its horrible depths brings a shudder over the most listless reader. If happiness is to be portrayed, the coziest nook in Elysium is laid bare. If anger pleads for expression, no bolt from Vulcan's anvil has ever fallen with so crushing a clang.
The Negro writer is prolific in detail. Situation follows situation in rapid success, demanding close attention to keep clear of the meshes of involvement. The writings of the Negro are full of soul. If, at times, there is a lacking of aptness in conventional adjustments, the hiatus is beautifully abridged with a freshness and wealth of expression that fully atones.
The Negro writer has it largely in his power to demonstrate the higher possibilities and capabilities of his race. As long as there is a Charles W. Chestnut, or a Paul Lawrence Dunbar, a T. Thomas Fortune, and others, whose writings are read by the thousands of literary people of this country and England, so long will there be an irrefutable argument for the intellectual worth of the Negro race.
It is within the power of the Negro writer to practically and profitably demonstrate the oft repeated aphorism, "Genius is not the plant of any particular soil."