A part of the problem is the spirit of those who write formal books, and a group of works may be enumerated which take an extreme anti-Negro view and seek to throw upon the African race the responsibility for whatever is wrong in the South. Dr. R. W. Shufeldt (late of the United States army) has published "The Negro a Menace to American Civilization" (1907), of which the theme is sufficiently set forth by the wearisome use of the term "hybrid" for mulatto; he illustrates his book, supposed to be a logical argument on the inferiority of the Negro, with reproductions of photographs showing the torture and death of a Negro in process of lynching by a white mob; and he sums up his judgment of the negro race in the phrase "The Negro in fact has no morals, and it is therefore out of the question for him to be immoral." The most misleading of all the Southern writers is Thomas Dixon, Jr., a man who is spending his life in the attempt to persuade his neighbors that the North is passionately hostile to the South; that the black is bent on dishonoring the white race; and that the ultimate remedy is extermination. In his three novels, "The Leopard's Spots" (1902), "The Clansman" (1905), and "The Traitor" (1907), he paints a lurid picture of Reconstruction, in which the high-toned Southern gentleman tells the white lady who wishes to endow a college for Negroes that he would like--"to box you up in a glass cage, such as are used for rattlesnakes, and ship you back to Boston." One of these novels, "The Clansman," has been dramatized, and its production, against the remonstrances of the respectable colored people in a Missouri town, led directly to a lynching. No reasonable being would hold the whole South responsible for such appeals to passion; but unfortunately many well-meaning people accept that responsibility. In Charlotte, N. C., the most refined and respectable white people went to see "The Clansman" played and showed every sign of approval, as appears to have been the case in Providence, R. I., in 1909. A recent writer, John C. Reed, in his "Brothers' War," brackets Thomas Dixon, Jr., with John C. Calhoun as exponents of Southern feeling and especially lauds Dixon as the "exalted glorification" of the Ku Klux.