hen, would naturally prove extremely useful in fiction. In "The Quest of the Silver Fleece" and in several essays in "Darkwater: Voices From within the Veil" the concepts of heaven and hell surpass the mere usefulness of just symbolic extensions, however, to become characters and plot movers in their own right. In "Quest," for example, heaven, hell and many other Christian concepts of morality and atonement provide the incentives, motivations, causes and effects of such things as Zora's evolution and Mr. Cresswell's repentance.
             The question becomes, how can a man, who is clearly "anti-organized religion" return again and again to such symbols? Through a close reading of DuBois, it is clear that such concepts are wholly within the range of his belief system. In "The Souls of Black Folk," DuBois states how Negroes are endowed with an inherent pull towards religiosity. Having no been sustained by the faulty Christianity, Negroes are in spiritually in
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