ably aware of his faults--extreme privacy of reference, frequent experimental failure, and racist dogma, to name only a few. Nevertheless, we are also mindful of his merits--daring and frequently successful verbal approximations of jazz music, vibrant recreation of black speech, and a consummate portrayal of the black middle-class psyche. In spite of some obvious short-comings, Baraka, in the brief span of ten years, presented us with work of considerable promise. It is at least this writer's hope that the artist's increasingly myopic vision does not confirm the once-premature contention that "it is now necessary to inter him as a writer, young and kicking." However, at this point in his career, Baraka seems to be doing everything in his power to prove that grim prophecy sagacious.