Sterling Brown is the latest addition to a small group of authentic Negro poets. His best work [in Southern Road] is based upon whatever tradition the Negro folk song and the spiritual have to offer: vigorous, well defined rhythms that are most effective when read aloud. His "Odyssey of Big Boy," "Memphis Blues" and "Tin Roof Blues" are all good examples of his skill in reproducing the essential qualities of American Negro folk music—and, what is more, he has handled the usual Negro themes with honest originality. His work, however, suffers one serious handicap which arises from a liberal use of dialect spelling. This device, though it may be employed with the greatest sincerity and with an accurate ear, always seems artificial and "literary"; no doubt Mr. Brown has made his choice deliberately and is well aware of the limitations imposed by his medium. His lack of...