I Know Why the Caged Bird Sings

I Know Why the Caged Bird Sings

Cover from the first edition
Author	Maya Angelou
Country	United States
Language	English
Genre	Autobiography
Published	1969 (Random House), 1st edition
Media type	Print (hardback & paperback)
Followed by	Gather Together in My Name

I Know Why the Caged Bird Sings is a 1969 autobiography describing the young and early years of American writer and poet Maya Angelou. The first in a seven-volume series, it is a coming-of-age story that illustrates how strength of character and a love of literature can help overcome racism and trauma. The book begins when three-year-old Maya and her older brother are sent to Stamps, Arkansas, to live with their grandmother and ends when Maya becomes a mother at the age of 16. In the course of Caged Bird, Maya transforms from a victim of racism with an inferiority complex into a self-possessed, dignified young woman capable of responding to prejudice.

Angelou was challenged by her friend, author James Baldwin, and her editor, Robert Loomis, to write an autobiography that was also a piece of literature. Reviewers often categorize Caged Bird as autobiographical fiction because Angelou uses thematic development and other techniques common to fiction, but the prevailing critical view characterizes it as an autobiography, a genre she attempts to critique, change, and expand. The book covers topics common to autobiographies written by black American women in the years following the Civil Rights Movement: a celebration of black motherhood; a critique of racism; the importance of family; and the quest for independence, personal dignity, and self-definition.

Angelou uses her autobiography to explore subjects such as identity, rape, racism, and literacy. She also writes in new ways about women's lives in a male-dominated society. Maya, the younger version of Angelou and the book's central character, has been called "a symbolic character for every black girl growing up in America". Angelou's description of being raped as an eight-year-old child overwhelms the book, although it is presented briefly in the text. Another metaphor, that of a bird struggling to escape its cage, is a central image throughout the work, which consists of "a sequence of lessons about resisting racist oppression". Angelou's treatment of racism provides a thematic unity to the book. Literacy and the power of words help young Maya cope with her bewildering world; books become her refuge as she works through her trauma.

Caged Bird was nominated for a National Book Award in 1970 and remained on The New York Times paperback bestseller list for two years. It has been used in educational settings from high schools to universities, and the book has been celebrated for creating new literary avenues for the American memoir. However, the book's graphic depiction of childhood rape, racism, and sexuality has caused it to be challenged or banned in some schools and libraries.

Background

Angelou, 1969

The book's title comes from a poem by African-American poet Paul Laurence Dunbar. The caged bird, a symbol for the chained slave, is an image Angelou uses throughout all her writings.

Before writing I Know Why the Caged Bird Sings at the age of forty, Angelou had a long and varied career, holding jobs such as composer, singer, actor, civil rights worker, journalist, and educator. In the late 1950s, she joined the Harlem Writers Guild, where she met a number of important African-American authors, including her friend and mentor James Baldwin. After hearing civil rights leader Martin Luther King Jr. speak for the first time in 1960, she was inspired to join the Civil Rights Movement. She organized several benefits for him, and he named her Northern Coordinator of the Southern Christian Leadership Conference. She worked for several years in Ghana, West Africa, as a journalist, actress, and educator. She was invited back to the US by Malcolm X to work for him shortly before his assassination in 1965. In 1968, King asked her to organize a march, but he too was assassinated on April 4, which was also her birthday. For many years, Angelou responded to King's murder by not celebrating her birthday, instead choosing to meet with, call, or send flowers to his widow, Coretta Scott King.

Angelou was deeply depressed in the months following King's assassination, so to help lift her spirits, Baldwin brought her to a dinner party at the home of cartoonist Jules Feiffer and his wife Judy in late 1968. The guests began telling stories of their childhoods and Angelou's stories impressed Judy Feiffer. The next day Judy Feiffer called Robert Loomis at Random House, who became Angelou's editor throughout her long writing career until he retired in 2011, and "told him that he ought to get this woman to write a book". At first, Angelou refused, since she thought of herself as a poet and playwright, and was in the middle of writing a series for PBS television station WNET. According to Angelou, Baldwin had a "covert hand" in getting her to write the book, who advised Loomis to use "a little reverse psychology"; Angelou later reported that Loomis tricked her into it by daring her: "It's just as well", he said, "because to write an autobiography as literature is just about impossible". Angelou was unable to resist a challenge, and she began writing Caged Bird. After "closeting herself" in London it took her two years to write it. She shared the manuscript with her friend writer Jessica Mitford before submitting it for publication.

Angelou subsequently wrote six additional autobiographies, covering a variety of her young adult experiences. They are distinct in style and narration, but unified in their themes, and stretch from Arkansas to Africa, and back to the US, from the beginnings of World War II to King's assassination. Like Caged Bird, the events in these books are episodic and crafted as a series of short stories, yet do not follow a strict chronology. Later books in the series include Gather Together in My Name (1974), Singin' and Swingin' and Gettin' Merry Like Christmas (1976), The Heart of a Woman (1981), All God's Children Need Traveling Shoes (1986), A Song Flung Up to Heaven (2002), and Mom & Me & Mom (2013, at the age of 85). Critics have often judged Angelou's later autobiographies "in light of the first", and Caged Bird generally receives the highest praise.

Beginning with Caged Bird, Angelou used the same "writing ritual" for many years. She would get up at 5 am and check into a hotel room, where the staff were instructed to remove pictures from the walls. She wrote on yellow legal pads while lying on the bed, with a bottle of sherry, a deck of cards to play solitaire, Roget's Thesaurus, and the Bible, and left by the early afternoon. She averaged 10–12 pages of material a day, which she edited down to three or four pages in the evening. Critic Mary Jane Lupton states that this ritual indicated "a firmness of purpose and an inflexible use of time". Angelou went through this process to give herself time to turn the events of her life into art, and to "enchant" herself; as she said in a 1989 interview with the BBC, to "relive the agony, the anguish, the Sturm und Drang". She placed herself back in the time she wrote about, even during traumatic experiences like her rape in Caged Bird, to "tell the human truth" about her life. Critic Opal Moore says about Caged Bird: "...Though easily read, [it] is no 'easy read'". Angelou stated that she played cards to reach that place of enchantment, to access her memories more effectively. She has stated, "It may take an hour to get into it, but once I'm in it—ha! It's so delicious!" She did not find the process cathartic; rather, she found relief in "telling the truth". Angelou told scholar Joanne M. Braxton that she tried to "suspend herself from the present" while writing her autobiographies and put herself into the time wrote about, despite understanding that "I might be trapped in that time", a process she called "frightening".

Title

When selecting a title, Angelou turned to Paul Laurence Dunbar, an African American poet whose works she had admired for years. Jazz vocalist and civil rights activist Abbey Lincoln suggested the title. According to Lyman B. Hagen, the title pulls Angelou's readers into the book while reminding them that it is possible to both lose control of one's life and to have one's freedom taken from them. Angelou has credited Dunbar, along with Shakespeare, with forming her "writing ambition". According to Mary Jane Lupton, the caged bird in the title symbolizes a chained slave and appears frequently in Angelou's writings. Lupton also discusses Angelou's use of the word "sings", which she says critics have tended to downplay. The word creates an upward mood and "suggests the survival of African Americans through the spiritual". Although singing is more developed in Angelou's later books, she hints at the "possibilities of joyful song" in Caged Bird. Finally, also according to Lupton, the cage is a symbol of the restraint of not only the Black body, but of the female Black body.

The title of the book comes from the third stanza of Dunbar's poem "Sympathy":

I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,
When he beats his bars and would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart's deep core,
But a plea, that upward to Heaven he flings –
I know why the caged bird sings.

Plot summary

See also: List of characters in I Know Why the Caged Bird Sings

I Know Why the Caged Bird Sings follows Marguerite's (called "My" or "Maya" by her brother) life from the age of three to seventeen and the struggles she faces – particularly with racism and self-affirmation – in the Southern United States. Abandoned by their parents, Maya and her older brother Bailey are sent to live with their paternal grandmother (Momma) and disabled uncle (Uncle Willie) in Stamps, Arkansas. Maya and Bailey are haunted by their parents' abandonment throughout the book – they travel alone and are labeled like baggage.

The community of Stamps, Arkansas, is the setting for a large portion of the book.

Many of the problems Maya encounters in her childhood stem from the overt racism of her white neighbors and the subliminal awareness of race relations weaved in society. Although Momma is relatively wealthy because she owns the general store at the heart of Stamps' Black community, the white children of their town, in an "almost ritual insult", hassle Maya's family relentlessly. One of these "powhitetrash" girls, for example, reveals her pubic hair to Momma in a humiliating incident which leaves Maya, watching from a distance, indignant and furious. Early in the book, Momma hides Uncle Willie in a vegetable bin to protect him from Ku Klux Klan raiders, where he moans and groans under the potatoes throughout the night. Maya has to endure the insult of her name being changed to Mary by a racist employer. A white speaker at her eighth-grade graduation ceremony disparages the Black audience by suggesting that they have limited job opportunities. A white dentist refuses to treat Maya's rotting tooth, even when Momma reminds him that she had loaned him money during the Depression. The Black community of Stamps enjoys a moment of racial victory when they listen to the radio broadcast of Joe Louis's championship fight, but generally, they feel the heavy weight of racist oppression.

A turning point in the book occurs when Maya and Bailey's father unexpectedly appears in Stamps. He takes the two children with him when he departs, but leaves them with their mother in St. Louis, Missouri. Eight-year-old Maya is sexually abused and raped by her mother's boyfriend, Mr. Freeman. He is found guilty during the trial, but escapes jail time and is murdered, presumably by Maya's uncles. Maya feels guilty and withdraws from everyone but her brother. Even after returning to Stamps, Maya remains reclusive and nearly mute until she meets Mrs. Bertha Flowers, "the aristocrat of Black Stamps," who encourages her through books and communication to regain her voice and soul. This coaxes Maya out of her shell.

Later, Momma decides to send her grandchildren to their mother in San Francisco, California, to protect them from the dangers of racism in Stamps. Maya attends George Washington High School and studies dance and drama on a scholarship at the California Labor School. Before graduating, she becomes the first Black female cable car conductor in San Francisco. While still in high school, Maya visits her father in southern California one summer and has some experiences pivotal to her development. She drives a car for the first time when she must transport her intoxicated father home from an excursion to Mexico. She experiences homelessness for a short time after a fight with her father's girlfriend.

During Maya's final year of high school, she worries that she might be a lesbian (which she confuses due to her sexual inexperience with the belief that lesbians are also hermaphrodites). She ultimately initiates sexual intercourse with a teenage boy. She becomes pregnant, which, on the advice of her brother, she hides from her family until her eighth month of pregnancy in order to graduate from high school. Maya gives birth at the end of the book.

Style and genre

Angelou's prose works, while presenting a unique interpretation of the autobiographical form, can be placed in the long tradition of African-American autobiography. Her use of fiction-writing techniques such as dialogue, characterization, and thematic development, however, often lead reviewers to categorize her books, including I Know Why the Caged Bird Sings, as autobiographical fiction. Other critics, like Mary Jane Lupton, insist that Angelou's books should be categorized as autobiographies because they conform to the genre's standard structure: they are written by a single author, they are chronological, and they contain elements of character, technique, and theme. In a 1983 interview with African-American literature critic Claudia Tate, Angelou calls her books autobiographies. Dolly McPherson states that Angelou's work demonstrates how a writer can use the autobiography to define her quest for human individuality, identify her struggle with "the general condition of Black Americans", and claim a representative role not only for Black Americans, but for "the idea of America". McPherson goes on to say that "through a study of her work, one gains a closer access to American cultural history".

As Lupton states, what makes Angelou's autobiographies different than more conventional autobiographies is her "denial of closure". Lupton says that no other serial autobiography places the mother/child theme in the center of the conflict, which made it important to the book's narrative. Lupton calls the narrative style in Caged Bird "rich, humorous, intense, engaging". The language Angelou uses can be frightening and her dialogue in the book, which is sharp and direct, conveys her characters' distinctive language and both reflects the language of her literary models and draws on the Southern speech patterns of her characters. Her use of metaphor places Angelou "within the stylistic tradition of black protest literature". She also uses precision to describe objects or places and her observations are sensual. As Lupton puts it, "Her writing resembles a series of photographs or fragments of music: snapshots taken from many angles, notes played from a variety of instruments". McPherson agrees, stating that in her autobiographies, Angelou "uses the narrative gifts of an accomplished writer". Harold Bloom, who does not think as highly of Angelou's poetry and does not find her subsequent autobiographies as compelling as her first, compares the tone in Caged Bird with the tone Rudyard Kipling uses in Kim, stating that Angelou "provides us with a voice that we encounter very infrequently, whether in life or in literature".

At first, Angelou intended to return to poetry and play-writing after completing Caged Bird and write no more autobiographies, but as she stated in an interview in 1989, she chose the genre as her primary mode of expression because of its challenge and so that she could "change it, to make it bigger, richer, finer, and more inclusive in the twentieth century", adding that "I think I am the only serious writer who has chosen the autobiographical form to carry my work, my expression". McPherson agrees, stating in 1990 that no other American writer had chosen to make their "major literary and cultural contribution so predominately in autobiographical form".

As Angelou told journalist George Plimpton during a 1990 interview, "Autobiography is awfully seductive; it’s wonderful". She also told Plimpton that like the tradition begun by Frederick Douglass in slave narratives, she used the literary technique of "speaking in the first-person singular talking about the first-person plural, always saying I meaning 'we'". As critic Susan Gilbert states, Angelou was reporting not one person's story, but the collective's. Scholar Selwyn R. Cudjoe agrees, and sees Angelou as representative of the convention in African-American autobiography as a public gesture that speaks for an entire group of people. Angelou also, throughout her series of autobiographies, seeks to describe the personal, cultural, social, and historical influences that shaped her life and identity. Her experiences, as described in her books, "represent stages of her spiritual growth and awareness". As McPherson puts it, Angelou's autobiographies "creates a unique place within Black autobiographical tradition" and reveal "important insights into Black traditions and culture".

In addition to being classified as an autobiography, I Know Why the Caged Bird Sings has also been called a Bildungsroman, like George Eliot's The Mill on the Floss.

Joanne Braxton sees Caged Bird as "the fully developed black female autobiographical form that began to emerge in the 1940s and 1950s". The book presents themes that are common in autobiography by Black American women: a celebration of Black motherhood; a criticism of racism; the importance of family; and the quest for independence, personal dignity, and self-definition. Angelou introduces a unique point of view in American autobiography by revealing her life story through a narrator who is a Black female from the South, at some points a child, and other points a mother. McPherson says about Angelou: "I know of no other autobiographer in American letters who celebrates and sings her life with as much verve and display of vulnerability", adding that Angelou has demonstrated how the genre of the autobiography "can be transformed into a strong evocation of the human spirit". Writer Hilton Als calls Angelou one of the "pioneers of self-exposure", willing to focus honestly on the more negative aspects of her personality and choices. For example, Angelou was worried about her readers' reactions to her disclosure in her second autobiography, Gather Together in My Name, that she was a prostitute. She went through with it, anyway, after her husband Paul Du Feu advised her to be honest about it.

Angelou has recognized that there are fictional aspects to her books, and that she tends to "diverge from the conventional notion of autobiography as truth". Angelou discussed her writing process with Plimpton, and when asked if she changed the truth to improve her story, she admitted that she had. She stated, "Sometimes I make a diameter from a composite of three or four people, because the essence in only one person is not sufficiently strong to be written about". Although Angelou has never admitted to changing the facts in her stories, she has used these facts to make an impact with the reader. As Hagen states, "One can assume that 'the essence of the data' is present in Angelou's work", adding that Angelou "fictionalizes, to enhance interest". For example, Angelou uses the first-person narrative voice customary with autobiographies, told from the perspective, as Lupton puts it, of a child that is "artfully recreated by an adult narrator", although at times the book sounds more like fiction than autobiography. Harold Bloom says that, "like all autobiographies, [Caged Bird] has fictive elements, but whatever they may be, they evidently work to reinforce the book's engaging artfulness". Scholar Ernece B. Kelley calls Caged Bird a "gentle indictment of white American womanhood"; Hagen expands it further, stating that the book is "a dismaying story of white dominance". In the Stamps of Caged Bird, although "segregation was so complete that most Black children didn't really, absolutely know what Whites looked like" and Blacks rarely interacted with them, the white world was a constant threat and Blacks were expected to behave in a certain way in order to survive. Lupton, who sees the themes of racism and slavery as separate from imprisonment in Caged Bird, states that Maya constantly feels caged, "unable to escape the reality of her blackness". Imprisonment is also expressed in the book's title.

Caged Bird has been called "perhaps the most aesthetically satisfying autobiography written in the years immediately following the Civil Rights era". Critic Pierre A. Walker expresses a similar sentiment, and places it in the African-American literature tradition of political protest. Angelou demonstrates, through her involvement with the Black community of Stamps, her presentation of vivid and realistic racist characters, and "the vulgarity of white Southern attitudes toward African Americans", her developing understanding of the rules for surviving in a racist society. Angelou's autobiographies, beginning with Caged Bird, contain a sequence of lessons about resisting oppression. The sequence she describes leads Angelou, as the protagonist, from "helpless rage and indignation to forms of subtle resistance, and finally to outright and active protest".

Walker insists that Angelou's treatment of racism is what gives her autobiographies their thematic unity and underscores one of their central themes: the injustice of racism and how to fight it. In Angelou's depiction of the "powhitetrash" incident, Maya reacts with rage, indignation, humiliation, and helplessness. As Braxton put it, the white and female children "deliberately exploit their protected status to intimidate and humiliate" Maya's family. Braxton also considers the incident an implied threat towards the men in the family. Momma teaches Maya how they can maintain their personal dignity and pride while dealing with racism, and that it is an effective basis for actively protesting and combating racism. Walker calls Momma's way a "strategy of subtle resistance"; Dolly McPherson calls it "the dignified course of silent endurance" and "a pivotal experience in her initiation" of Maya's awareness about her place in the racist world. McPherson, who considers the incident "a dramatic re-enactment of the kind of spiritual death and regeneration Angelou experienced during the shaping of her development", also states that the incident taught Maya how her grandmother was able to survive and triumph psychologically in a hostile environment. Not only was it a depiction of the tensions between Blacks and whites during the period, it also depicted how Momma was able to protest, transcend the children's behavior towards her, and preserve her own dignity.

The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.

—The final stanza of Maya Angelou's poem "Caged Bird"

Angelou portrays Momma as a realist whose patience, courage, and silence ensured the survival and success of those who came after her. Maya responds assertively when subjected to demeaning treatment by Mrs. Cullinan, her white employer, and, later on in the book, breaks the race barrier to become the first Black streetcar operator in San Francisco. McPherson states that Maya's experience with Mrs. Cullinan places her "into a clearer awareness of social reality and into a growing consciousness of self-worth". Mrs. Cullinan's attempt to change Maya's name to fit her own convenience, which is a refusal to acknowledge Maya's humanity, also "echoes the larger tradition of American racism that attempts to prescribe the nature and limitations of a black person's identity". Maya stands up for her individuality and value by deliberately breaking Mrs. Cullinan's heirloom china.

Angelou's description of the strong and cohesive black community of Stamps also demonstrates how African Americans subvert repressive institutions to withstand racism. McPherson states that Angelou's depiction of the economic displacement of Black cotton field workers, who gather at Momma's store before and after work and could never get ahead despite their hard work, demonstrates how the Black community nurtures its members and helps them survive in an antagonistic environment. Angelou describes other incidences that demonstrates the strength and unity in Stamps as well. As McPherson puts it, "Unlike the white American, in order for the individual black American to be self-reliant, he or she must rely on the community". Lupton states that Angelou's emphasis on collectivity, "a major aspect of black survival", is relevant in Caged Bird. McPherson agrees, saying that Blacks must depend upon their community to survive in Stamps, although Angelou's definition of community and how she uses it not only changes when she leaves Stamps, but also in her later volumes.

Liliane Arensberg insists that Angelou demonstrates how she, as a Black child, evolves out of her "racial hatred", common in the works of many contemporary Black novelists and autobiographers. McPherson states that Caged Bird describes centuries-long traditions, developed in Africa and during slavery, that taught Black children to never resist "the idea that whites were better, cleaner, or more intelligent than blacks". At first Maya wishes that she could become white, since growing up Black in white America is dangerous; later she sheds her self-loathing and embraces a strong racial identity. Both Angelou's depiction of her community's reaction to the victorious Joe Louis fight and her elementary school graduation, in which they respond to a racist school official demeaning their future opportunities by proudly singing "Lift Every Voice and Sing", demonstrate the strength and resiliency of her community.

Rape

Angelou's description of being raped as an eight-year-old child overwhelms the autobiography, although it is presented briefly in the text. Opal Moore calls Angelou's graphic and complicated depiction of rape and incest "the center and bottom" of the autobiography and states the rape must be understood within the context of the entire book; everything that happens to Maya in it "should be understood against the ravaging of rape". For Moore, the rape "raises issues of trust, truth, and lie, love, and the naturalness of a child's craving for human contact, language and understanding, and the confusion engendered by the power disparities that necessarily exist between children and adults". Angelou describes two sexual encounters with Mr. Freeman; she uses metaphors, which allow her to describe her pain without having to explain what and how she feels.

Scholar Mary Vermillion compares Angelou's treatment of rape to in Caged Bird to Harriet Jacobs' in her 1861 autobiography, Incidents in the Life of a Slave Girl. According to Vermillion, one major difference between Angelou and Jacobs is the way somatophobia, which Vermillion defines as the "fear and disdain for the body", especially the female body, is depicted in their books. Angelou, for example, is freer to portray her rape, her body, and her sexuality than Jacobs because she does not have to deal with the 19th century patriarchal view of "true womanhood". Jacobs describes herself as beautiful and sexually desirable, but Angelou, as a child and young adult, thinks she is ugly. Jacobs and Angelou both use rape as a metaphor for the suffering of African Americans; Jacobs uses the metaphor to critique slaveholding culture, while Angelou uses it to first internalize, then challenge, 20th-century racist conceptions of the Black female body. Angelou connects her rape with the suffering of the poor and the subjection of her race. and "represents the black girl's difficulties in controlling, understanding, and respecting both her body and her words". Vermillion also connects the violation of Maya's body to her self-imposed muteness because she believes that her lie during the trial is responsible for her rapist's death. McPherson evaluates the rape in Caged Bird in light of how it affected Maya's identity, and how her displacement from the dangerous but comfortable setting of Stamps to her mother's chaotic and unfamiliar world of St. Louis contributes to Maya's trauma and withdrawal into herself.

It should be clear, however, that this portrayal of rape is hardly titillating or "pornographic." It raises issues of trust, truth and lies, love, the naturalness of a child's craving for human contact, language and understanding, and the confusion engendered by the power disparities that necessarily exist between children and adults.

–Opal Moore

Arensberg, who blames Maya's vulnerability on her previous experiences of neglect, abandonment, and lack of parental love, notes that Maya's rape is connected to the theme of death in Caged Bird, as Mr. Freeman threatens to kill Maya's brother Bailey if she tells anyone about the rape. After Maya lies during Freeman's trial, stating that the rape was the first time he touched her inappropriately, Freeman is murdered (presumably by one of Maya's uncles) and Maya sees her words as a bringer of death. As a result, she resolves never to speak to anyone other than Bailey. Angelou connects the violation of her body and the devaluation of her words through the depiction of her self-imposed, five-year-long silence. As Angelou later stated, "I thought if I spoke, my mouth would just issue out something that would kill people, randomly, so it was better not to talk".

African-American literature scholar Selwyn R. Cudjoe calls Angelou's depiction of the rape "a burden" of Caged Bird: a demonstration of "the manner in which the Black female is violated in her tender years and ... the 'unnecessary insult' of Southern girlhood in her movement to adolescence". Vermillion goes further, maintaining that a Black woman who writes about her rape risks reinforcing negative stereotypes about her race and gender. When Joanne Braxton asked Angelou decades later how she was able to survive the trauma she experienced, Angelou explained it by stating, "I can't remember a time when I wasn't loved by somebody". She also told Braxton that she thought about the rape everyday and that she wrote about the experience because it was the truth and because she wanted to demonstrate the complexities of rape for both the victim and the rapist. She also wanted to prevent it from happening to someone else, so that anyone who had been raped might gain understanding, forgive herself, and not blame herself.

Literacy

Angelou has described William Shakespeare as a strong influence on her life and works, especially his identification with what she saw as marginalized people, stating that "Shakespeare was a black woman".

As Lupton points out, all of Angelou's autobiographies, especially Caged Bird and its immediate sequel Gather Together in My Name, are "very much concerned with what [Angelou] knew and how she learned it". Lupton compares Angelou's informal education with the education of other Black writers of the twentieth century, who did not earn official degrees and depended upon the "direct instruction of African American cultural forms". Angelou's quest for learning and literacy parallels "the central myth of black culture in America": that freedom and literacy are connected. Angelou is influenced by writers introduced to her by Mrs. Flowers during her self-imposed muteness, including Edgar Allan Poe and William Shakespeare. Angelou states, early in Caged Bird, that she, as the Maya character, "met and fell in love with William Shakespeare". Mary Vermillion sees a connection between Maya's rape and Shakespeare's The Rape of Lucrece, which Vermillion calls "Angelou's most complex and subtle examination of Maya's attachment to white literary discourse" and which Maya memorizes and recites when she regains her speech. Vermillion maintains that Maya's attachment to Lucrece indicates her attachment to the verbal and the literary, which leads her to ignore her corporeality and helps her find comfort in the poem's identification with suffering. As Vermillion states, Maya must use the words she memorizes and recites to reconstruct her own body. Maya finds novels and their characters complete and meaningful, so she uses them to make sense of her bewildering world. She is so involved in her fantasy world of books that she even uses them as a way to cope with her rape, writing in Caged Bird, "...I was sure that any minute my mother or Bailey or the Green Hornet would bust in the door and save me".

According to Walker, the power of words is another theme that appears repeatedly in Caged Bird. For example, Maya chooses to not speak after her rape because she is afraid of the destructive power of words. Mrs. Flowers, by introducing her to classic literature and poetry, teaches her about the positive power of language and empowers Maya to speak again. The importance of both the spoken and written word also appears repeatedly in Caged Bird and in all of Angelou's autobiographies. Referring to the importance of literacy and methods of effective writing, Angelou once advised Oprah Winfrey in a 1993 interview to "do as West Africans do ... listen to the deep talk", or the "utterances existing beneath the obvious". Liliane Arensberg says, "If there is one stable element in Angelou's youth it is [a] dependence upon books" and fiction, including The Lone Ranger, The Shadow, and Marvel Comics, and works by Shakespeare, Poe, Dunbar, Jane Austen, William Makepeace Thackeray, Samuel Johnson, Langston Hughes, and W. E. B. Du Bois. The public library is a "quiet refuge" to which Maya retreats when she experiences crisis. Novels and the characters in them became Maya's references for viewing and dealing with the world around her. Hagen describes Angelou as a "natural story-teller", which "reflect[s] a good listener with a rich oral heritage". Hagen also insists that Angelou's years of muteness provided her with this skill. Books and poetry, with Mrs. Flowers' help, become Maya's "first life line" and a way to cope with the trauma of her rape. First, Mrs. Flowers treats her as an individual, unconnected to another person, and then by encouraging Maya to memorize and recite poetry, gives her a "sense of power within herself, a transcendence over her immediate environment". Mrs. Flowers' friendship awakens Maya's conscience, increases her perspective of what is around her and of the relationship between Black culture and the larger society, and teaches her about "the beauty and power of language". Their friendship also inspires Maya to begin writing poetry and record her observations of the world around her.

Angelou was also influenced by slave narratives, spirituals, poetry, and other autobiographies. Angelou read through the Bible twice as a young child, and memorized many passages from it. African-American spirituality, as represented by Angelou's grandmother, has influenced all of Angelou's writings, in the activities of the church community she first experiences in Stamps, in the sermonizing, and in scripture. Angelou told an interviewer in 1981 that the Bible and the language spoken at church was crucial to her development as a writer, likening it to going to the opera. Hagen says that in addition to being influenced by rich literary form, Angelou has also been influenced by oral traditions. In Caged Bird, Mrs. Flowers encourages her to listen carefully to "Mother Wit", which Hagen defines as the collective wisdom of the African-American community as expressed in folklore and humor. Arensberg states that Angelou uses the literary technique of wit, humor, and irony to defeat her enemies by mocking them and using her adult narrative voice, she "retaliates for the tongue-tied child's helpful pain". Arensberg goes on to state that Angelou even ridicules the child version of herself, although unlike other autobiographers, she avoids linking the child she was to the adult she became. As Vermillion puts it, Angelou reembodies Maya following the trauma of her rape by critiquing her early dependency on white literary discourse; even though Angelou "is not content to let the mute, sexually abused, wishing-to-be-white Maya represent the black female body in her text".

Angelou's humor in Caged Bird and in all her autobiographies is drawn from Black folklore and is used to demonstrate that in spite of severe racism and oppression, Black people thrive and are, as Hagen states, "a community of song and laughter and courage". Hagen states that Angelou is able to make an indictment of institutionalized racism as she laughs at her flaws and the flaws of her community and "balances stories of black endurance of oppression against white myths and misperceptions". Hagen also characterize Caged Bird as a "blues genre autobiography" because it uses elements of blues music. These elements include the act of testimony when speaking of one's life and struggles, ironic understatement, and the use of natural metaphors, rhythms, and intonations. Hagen also sees elements of African American sermonizing in Caged Bird. Angelou's use of African-American oral traditions creates a sense of community in her readers, and identifies those who belong to it. The vignettes in Caged Bird feature literary aspects such as oral story traditions and traditional religious beliefs and practices that depict African-American cultural life. For example, the story about Maya's racist employer Mrs. Cullinan parallels traditional African-American folklore, the significance, horror, and danger accompanied by the importance of naming in traditional society, and the practice of depriving slaves of their true names and cultural past.

Reception and legacy

Critical reception and sales

I Know Why the Caged Bird Sings is the most highly acclaimed of Angelou's autobiographies. The other volumes in her series of seven autobiographies are judged and compared to Caged Bird. It became a bestseller immediately after it was published. Angelou's friend and mentor, James Baldwin, maintained that her book "liberates the reader into life" and called it "a Biblical study of life in the midst of death". According to Angelou's biographers, "Readers, especially women, and in particular Black women, took the book to heart".

James Baldwin (1955), Angelou's friend and mentor, called Caged Bird "a Biblical study of life in the midst of death".

By the end of 1969, critics had placed Angelou in the tradition of other Black autobiographers. Poet James Bertolino asserts that Caged Bird "is one of the essential books produced by our culture". He insists that "[w]e should all read it, especially our children". It was nominated for a National Book Award in 1970, has never been out of print, and has been published in many languages. It has been a Book of the Month Club selection and an Ebony Book Club selection. In 2011, Time Magazine placed the book in its list of 100 best and most influential books written in English since 1923.

Critic Robert A. Gross called Caged Bird "a tour de force of language". Edmund Fuller insisted that Angelou's intellectual range and artistry were apparent in how she told her story. Caged Bird catapulted Angelou to international fame and critical acclaim and was a significant development in Black women's literature because it "heralded the success of other now prominent writers". Other reviewers have praised Angelou's use of language in the book, including critic E. M. Guiney, who reported that Caged Bird was "one of the best autobiographies of its kind that I have read". Critic R. A. Gross praises Angelou for her use of rich and dazzling images and Dolly McPherson praises Angelou for describing "a life lived with intensity, honesty, and a remarkable combination of innocence and knowledge". McPherson called the book "a carefully conceived record of a young girl's slow and clumsy growth" and "a record of her initiation into her world and her discovery of her interior identity". McPherson states that Angelou is able to confidently and effectively describe her painful memories. Harold Bloom calls Caged Bird "more a carol than it is a prayer or plea".

Opal Moore, in her criticism of the push to ban Caged Bird from schools, states that the book's message of overcoming racism transcends its author and that the book "is an affirmation; it promises that life, if we have the courage to live it, will be worth the struggle". Scholar Liliane Arensberg states that like all autobiographies, Caged Bird "seems a conscious defense against the pain felt at evoking unpleasant memories". Scholar Mary Jane Lupton compares Angelou's works with Richard Wright's two-volume serial autobiographies, stating that Angelou's transitions between her volumes are smoother than Wright's and that her presentation of herself as a character is more consistent. Lupton also compares Angelou's autobiographies with Dust Tracks on a Road (1942) by Zora Neale Hurston, Coming of Age in Mississippi (1968) by Anne Moody, Report From Part One (1972) by Gwendolyn Brooks, Bone Black: Memories of Girlhood (1996) by bell hooks, and Lilian Hellman's series of four autobiographies. Dolly McPherson says that Angelou's serial autobiographies, along with other contemporary autobiographies written by Baldwin, Moody, and Malcolm X, "is the urge to articulate, as if for the first time, a sensibility at once determined and precluded by history".

The book's reception has not been universally positive; author Francine Prose considers its inclusion in the high school curriculum as partly responsible for the "dumbing down" of American society. Prose calls the book "manipulative melodrama", and considers Angelou's writing style an inferior example of poetic prose in memoir. She states that Angelou combines a dozen metaphors in one paragraph and for "obscuring ideas that could be expressed so much more simply and felicitously".

By the mid-1980s, Caged Bird had gone through 20 hardback printings and 32 paperback printings. The week after Angelou recited her poem "On the Pulse of Morning" at President Bill Clinton's 1993 inauguration, sales of the paperback version of Caged Bird, which had sold steadily since its publication, and her other works rose by 300–600 percent. The 16-page publication of "On the Pulse of Morning" became a bestseller, and the recording of the poem was awarded a Grammy Award. The Bantam Books edition of Caged Bird was a bestseller for 36 weeks, and they had to reprint 400,000 copies of her books to meet demand. Random House, which published Angelou's hardcover books and the poem later that year, reported that they sold more of her books in January 1993 than they did in all of 1992, marking a 1,200 percent increase.

Influence

When Caged Bird was published in 1969, Angelou was hailed as a new kind of memoirist, one of the first African-American women who was able to publicly discuss her personal life. Up to that point, Black women writers were marginalized to the point that they were unable to present themselves as central characters. Writer Julian Mayfield, who calls Caged Bird "a work of art that eludes description", has insisted that Angelou's autobiographies set a precedent for African-American autobiography as a whole. Als insists that Caged Bird marked one of the first times that a Black autobiographer could, as Als put it, "write about blackness from the inside, without apology or defense". After writing Caged Bird, Angelou became recognized as a respected spokesperson for blacks and women. Caged Bird made her "without a doubt ... America's most visible black woman autobiographer". Although Als considers Caged Bird an important contribution to the increase of Black feminist writings in the 1970s, he attributes its success less to its originality than to "its resonance in the prevailing Zeitgeist" of its time, at the end of the American Civil Rights Movement. Angelou's writings, more interested in self-revelation than in politics or feminism, freed many other women writers to "open themselves up without shame to the eyes of the world".

Opal Moore has called for better preparation for teachers who use Caged Bird in their classrooms, stating that the book is a difficult text for both teachers and students. Angelou's autobiographies, especially Caged Bird, for example, have been used in narrative and multicultural approaches to teacher education. Jocelyn A. Glazier, a professor at George Washington University, has used Caged Bird and Gather Together in My Name when training teachers to appropriately explore racism in their classrooms. Angelou's use of understatement, self-mockery, humor, and irony causes readers to wonder what she "left out" and to be unsure how to respond to the events Angelou describes. These techniques force white readers to explore their feelings about race and their privileged status in society. Glazier found that although critics have focused on where Angelou fits within the genre of African-American autobiography and her literary techniques, readers react to her storytelling with "surprise, particularly when [they] enter the text with certain expectations about the genre of autobiography".

Educator Daniel Challener, in his 1997 book Stories of Resilience in Childhood, analyzed the events in Caged Bird to illustrate resiliency in children. Challener states that Angelou's book provides a useful framework for exploring the obstacles many children like Maya face and how a community helps these children succeed as Angelou did. Psychologist Chris Boyatzis has used Caged Bird to supplement scientific theory and research in the instruction of child development topics such as the development of self-concept and self-esteem, ego resilience, industry versus inferiority, effects of abuse, parenting styles, sibling and friendship relations, gender issues, cognitive development, puberty, and identity formation in adolescence. He has called Caged Bird a highly effective tool for providing real-life examples of these psychological concepts.

Censorship

Caged Bird elicits criticism for its honest depiction of rape, its exploration of the ugly specter of racism in America, its recounting of the circumstances of Angelou's own out-of-wedlock teen pregnancy, and its humorous poking at the foibles of the institutional church.

–Opal Moore

Caged Bird has been criticized by many parents, causing it to be removed from school curricula and library shelves. The book was approved to be taught in public schools and was placed in public school libraries through the U.S. in the early-1980s, and was included in Advanced Placement and gifted student curriculum. Attempts by parents to censor it began in 1983. Caged Bird has been challenged in fifteen U.S. states. Some have been critical of its sexually explicit scenes, use of language, and irreverent religious depictions. Many parents throughout the U.S. have sought to ban the book from schools and libraries for being inappropriate for younger high school students, for promoting premarital sex, homosexuality, cohabitation, and pornography, and for not supporting traditional values. Parents have also objected to the book's use of profanity and to its graphic and violent depiction of rape and racism. Educators have responded to these challenges by removing it from reading lists and libraries, by providing students with alternatives, and by requiring parental permission from students. In 2009, Angelou expressed her sorrow and outrage about the banning of all her books, stating that those who insisted upon banning them had not read them. She also said, “I feel sorry for the young person who never gets to read [Caged Bird]".

In 2021, the Thurgood Marshall Civil Rights Center, which stated that banning books like Caged Bird and The Color Purple by Alice Walker "points to a larger pattern of banning books significant to African American history and culture", found that Caged Bird was banned in prisons throughout the U.S.; for example, the book was banned in North Carolina prisons because officials determined that its depiction of sexual assault was a security threat.

Caged Bird appeared third on the American Library Association (ALA) list of the 100 Most Frequently Challenged Books of 1990–2000, sixth on the ALA's 2000–2009 list, and fell to 88th place on the ALA's 2010-2019 list. As of 1998, it was one of the ten books most frequently banned from high school and junior high school libraries and classrooms.

Film version

A made-for-TV movie version of I Know Why the Caged Bird Sings was filmed in Mississippi and aired on April 28, 1979, on CBS. Angelou and Leonora Thuna wrote the teleplay; the movie was directed by Fielder Cook. Constance Good played young Maya. Also appearing were actors Esther Rolle, Roger E. Mosley, Diahann Carroll, Ruby Dee, and Madge Sinclair. Two scenes in the movie differed from events described in the book. Angelou added a scene between Maya and Uncle Willie after the Joe Louis fight; in it, he expresses his feelings of redemption and hope after Louis defeats a white opponent. Angelou also presents her eighth grade graduation differently in the film. In the book, Henry Reed delivers the valedictory speech and leads the Black audience in the Negro national anthem. In the movie, Maya conducts these activities.

Sources cited

• Angelou, Maya (1969). I Know Why the Caged Bird Sings. New York: Random House. ISBN 978-0-375-50789-2.
• Arensberg, Liliane K. (1999). "Death as Metaphor for Self". In Braxton, Joanne M. (ed.). Maya Angelou's I Know Why the Caged Bird Sings: A Casebook. Oxford Press. pp. 111–128. ISBN 0-19-511606-2.
• Baisnée, Valérie (1994). Gendered Resistance: The Autobiographies of Simone de Beauvoir, Maya Angelou, Janet Frame and Marguerite Duras. Amsterdam: Rodopi. ISBN 90-420-0109-7.
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• McPherson, Dolly A. (1990). Order out of Chaos: The Autobiographical Works of Maya Angelou. New York: Peter Lang Publishing. ISBN 0-8204-1139-6. Retrieved April 4, 2024.
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