873:, but she has matured in the way she deals with it in this book. For the first time in Angelou's life, she "does not feel threatened by racial hate" in Ghana. She discovers that for the first time in her and her son's lives, their skin color was "accepted as correct and normal". She finds a strong support system there, and as Hagen states, she "has come far from the mute, shy little girl of Stamps, Arkansas". As Hagen states, Angelou "is not yet ready to toss off the stings of prejudice, but tolerance and even a certain understanding can be glimpsed". This is demonstrated in Angelou's treatment of the "genocidal involvement of Africans in slave-trading", something that is often overlooked or misrepresented by other Black writers. Angelou recognizes that the racial memory of slavery impacts every interaction with the Ghanaians she meets and interacts with. Writing about it 20 years later, in the 1980s, she also realizes that the formation of one's identity is ongoing, relational, and subjective, and that her and her fellow expatriates' image of Africa was influenced by the history of slavery and of the racism and oppression they experienced in 20th-century America. She comes to the painful realization that "the African identity she projected prior to her arrival in Ghana was not real". She realizes that her identity was that she was an American Black whose emotional energy was focused on the civil rights struggles in the U.S. and that her history was based there, after generations of trauma, which had failed to eradicate her fellow members of the African diaspora who resided in America. As Smithers put it, "Angelou's conclusion is thus built on the humanist ideal of individuals triumphing over great odds, an ethos rooted in American experiences and an American intellectual consciousness". Angelou's image of Africa became what Smithers calls "decentered" after she experienced Africa herself. Smithers suspects that writing about her decentering 20 years later must have been painful for Angelou, but says that it was "necessary to the continued evolution of a meaningful sense of self". For Angelou, Africa changes from "a timeless home with transformative spiritual qualities" to a place that helps American members of the diaspora focus on the history of racial injustice that began with their ancestors' enslavement and work to change it.
349:", Angelou's "clever reference" to her ongoing search for a home while being aware of "our ultimate home". The title demonstrates Angelou's love of African-American spirituals and deep sense of religion that appears in all of her works. Scholar Annie Gagiano agrees that Angelou draws upon African-American musical heritage in her title of the book; as she puts it, "the spiritual promises enslaved people free exploration of the celestial territory that will compensate for the restrictions suffered in life". Gagiano also says that the title is a subtle criticism of the American capitalist and racist society that makes leaving it in order to experience other cultures desirable and necessary. Critic Mary Jane Lupton finds the appearance of the word "traveling" purposeful, since it emphasizes the journey theme, one of Angelou's most important themes of the book. Like Angelou's previous volumes in her series, the title contributes to its plot and thematic impact.
841:, states that Angelou reflects on the meaning of identity among members of the African diaspora and recounts her "experiences, relationships, and collective belonging". The alliances and relationships with those she meets in Ghana contribute to Angelou's identity and growth. Smithers states that the geography and history of the continent of Africa, which "loomed large in her very personal story", as well as her efforts to connect with people of African descent, is core to her quest for individual and collective belonging. Smithers adds that she "explores the existential question of black identity in relation to her image of Africa". Her experiences in Ghana help her come to terms with her personal and historical past, and by the end of the book she is ready to return to America with a deeper understanding of both the African and the American parts of her character. McPherson calls Angelou's parallels and connections between Africa and America her "
976:, states that Angelou is unable to experience a connection with what Angelou calls the "soul" of Africa, and that Angelou speculates that only the American Black, forcibly displaced and taken from the home of her ancestors, can truly understand "that home is the place where one is created". Angelou and her fellow expatriates' need to gain recognition by their ancestral homeland is painful, ambiguous, obtained at an emotional cost, and requires coming to terms with the rejection of the Ghanaians they encounter. Gagiano calls this realization a "bitter truth". As Gagiano puts it, Angelou's presence in Ghana "re-evokes awareness" of the horrors experienced by her ancestors at the hands of their enslavers, both African and European/American. Gagiano also states that the "quest for the African homeland is both a journey into the psychic interior and a process of political education".
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her and her fellow expatriates with a sense of identity and belonging. According to
Smithers, the social and political changes taking place in the U.S. during the early 1960s inspired Angelou's initial quest because she felt she had to break ties with her more recent history there in order to find a deeper sense of history and meaning in Ghana. Angelou soon discovers that her fellow Black expatriates "share similar delusions" and that their feelings towards Ghana and its people are not reciprocated. Lupton states, "Angelou's alliance with the African-American community often focuses on their indignation over the Ghanaians' refusal to fully welcome them". Angelou uses the parallel demonstration to King's 1963
691:, Angelou continues to demonstrate her strengths as an autobiographer, especially her ability to connect emotionally with her audience, which Lupton calls a "superb use of language in recording moments of emotional intensity". As in her previous books, Angelou uses creative metaphors and personifications of abstract objects and concepts. Her descriptions exhibit her advanced abilities as a writer, developed after years of maturity, of "displaying vivid and captivating sentences and phrases". Angelou's self-portrait of a Black woman and her ability to communicate her misfortunes destroys stereotypes and demonstrates "the trials, rejections, and endurances which so many Black women share". Hagen calls
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feelings of being 'home' yet simultaneously being 'homeless,' cut off from
America without tangible roots in their adopted black nation". For many Black Americans, it was the first time they were able to positively identify with Africa. Angelou describes the group of Black American expatriates as "a little group of Black folks, looking for a home". According to Smithers, Angelou's connection with her fellow expatriates emphasizes the "ambiguity of place" in the book. It also demonstrates "the ontological malleability of identity" that members of the African diaspora who have traveled to Africa have experienced in different times and places.
590:, she acknowledged that there are fictional aspects to all her books, with the tendency to "diverge from the conventional notion of autobiography as truth". When speaking of her unique use of the genre, Angelou acknowledges that she follows the slave narrative tradition of "speaking in the first-person singular talking about the first-person plural, always saying I meaning 'we'". McPherson states that Angelou is a master of this autobiographical form, especially the "confrontation of the Black self within a society that threatens to destroy it", but departs from it in
889:, whom Angelou resents, is needed. She compares her experiences of American racism with Germany's history of racial prejudice and military aggression. The verbal violence of the folk tales shared during her meal with her German hosts and Israeli friend is as significant to Angelou as physical violence, to the point that she becomes ill. Angelou's first-hand experience with fascism, as well as the racist sensibilities of the German family she visits, "help shape and broaden her constantly changing vision" regarding racial prejudice.
805:. One way she expresses her conflict is through her reluctant relationship with Kojo. She compares her feelings for Kojo with the pain of childbirth, and he serves as substitute for Guy. At the end of the book Angelou leaves Guy in Africa to continue his education, suggesting, as Lupton puts it, the "apparent end of the mother/son plot". Lupton also reports that some reviewers have criticized Angelou for "the willful cutting of the maternal ties that she established throughout the series", but Angelou implies in
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recognition that part of motherhood is letting go, something
Angelou struggles with. Confrontations between Angelou and Guy are minimal, consisting of their conflict over his choice of dating a much-older woman and of his demands for autonomy after she returns from the Genet tour. Angelou seems to vacillate between wanting to supervise him and wanting to let go throughout the book. In this way, as Lupton says, the motherhood theme, like the identity theme, is "dual in nature".
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956:, she does not discover the village of her ancestors until almost the end of book because she lacks sufficient knowledge of Africa to fully understand her personal bonds with Ghana's history, people, and contemporary conditions. It is in the village, however, that Angelou is mistaken by the women inhabitants for a local and feels accepted by them, an experience that helps her affirm her African-American identity and connection with those who were enslaved in the U.S.
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364:" (1988) in its opening line: "All God's children need traveling shoes". Tikaram said during an interview on Polish television that she used the line because it sounded poetic and spiritual to her and because it evoked feelings of isolation. She later described "Twist in My Sobriety" as a "kind of road song" with a description of a landscape, and called the imagery in the song "very bookish". The song also fit with the imagery of the album in which it appears,
578:. In a 1989 interview, Angelou stated that she was the only "serious" writer to choose the genre to express herself. According to Lupton, Angelou does not report one person's story, but the collective's. She represents the convention in African-American autobiography, which serves as a public gesture that speaks for an entire group of people. As Angelou had done in her previous autobiographies, she uses elements of the African-American
908:. Instinctively I didn't. But the truth is, you can never leave home. You take it with you; it's under your fingernails; it's in the hair follicles; it's in the way you smile; it's in the ride of your hips, in the passage of your breasts; it's all there, no matter where you go. You can take on the affectations and the postures of other places and even learn to speak their ways. But the truth is, home is between your teeth.
684:. These stories and vignettes are told within the context of her entire life story, but each vignette can be read or analyzed individually, without harming the text's consistency. Most of Angelou's anecdotes no longer focus on the famous or on her family, but on Ghanaians; for example, according to Lupton, her description of her houseboy, Kojo, is her most delightful character sketch in the book.
622:, which focus on the writers' search for freedom from bondage, modern African-American autobiographers such as Angelou seek to develop "an authentic self" and the freedom to find it in their community. McPherson states, "The journey to a distant goal, the return home, and the quest which involves the voyage out, achievement, and return are typical patterns in Black autobiography". Gagiano calls
1039:"a rich and highly reflective memoir". He also states that the importance of the theme of home, as it relates to her personal and collective identification with herself and with her fellow expatriates, makes the book "a compelling example" of how members of the African diaspora "engage in the 'imaginative rediscovery' of Africa in the hope of 'discovering' a meaningful sense of self".
509:, like Angelou's previous autobiographies, is full of conflicts with Guy, especially surrounding his independence, his separation from his mother, and his choices. When she learns that he is dating a woman older than her, she reacts with anger and threatens to strike him, but he patronizes her, calls her his "little mother", and insists upon his autonomy from her.
680:, Angelou has matured as a writer, so she was able to experiment with form. For the first time, instead of using traditional numbered chapters, the book consists of anecdotes separated with a few inches of white space. Lupton calls these segments "short stories or vignettes", a technique that Angelou had used before, to portray dynamic characters such as
1035:"another professional, rich, full, journeyman text", and sees in this volume a higher-quality of writing, especially her "often lyrical and soaring" prose, than in her previous books. Other reviewers agree. Reviewer Janet A. Blundell found the book "absorbing reading", and reviewer Jackie Gropman states that the "prose sings". Gregory D. Smithers calls
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862:, she brought her son to Ghana to protect him from the negative effects of racism because she did not think he had the tools to withstand them. She remains in Accra after his accident because it was traumatic for her as well—so traumatic it reduces her to silence, similar to her muteness after she was raped as a child in
988:, with Angelou surrounded by Guy and her friends as they wish her farewell. Even though she "forsakes her new embraced alliance with Mother Africa," she claims she is "not sad" to be leaving. She calls her departure a "second leave-taking", and compares it to the last time she left her son, with his grandmother in
177:, and continued throughout her series, Angelou upholds the long tradition of African-American autobiography. At the same time she makes a deliberate attempt to challenge the usual structure of the autobiography by critiquing, changing, and expanding the genre. Angelou had matured as a writer by the time she wrote
574:, Angelou made a deliberate attempt while writing her books to challenge the usual structure of the autobiography by critiquing, changing, and expanding the genre. Her use of fiction-writing techniques such as dialogue, characterization, and thematic development has often led reviewers to categorize her books as
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when she decides to leave Guy to continue his education in Accra and return to
America. She realizes, even though America is dangerous, it is also nurturing and her true home, and that her duty and destiny lie there. The images of Martin Luther King, Jr., the March on Washington back in the U.S., and
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The book ends with
Angelou's decision to return to America. At the airport, a group of her friends and associates, including Guy, are present to wish her farewell as she leaves. She metaphorically connects her departure from the African continent and her departure from Guy with the forced enslavement
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Reviewer Jackie
Gropman has stated that Angelou presents her readers with "a wealth of information and penetrating impressions of the proud, optimistic new country of Ghana". Angelou also presents a romanticized view of and reflections about Africa by a young African American woman searching for her
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group of West Africa. As Lupton states, these and other experiences in Ghana demonstrate
Angelou's maturity as a mother who is able to let go of her adult son, as a woman who is no longer dependent upon a man, and as an American who is able to "perceive the roots of her identity" and how they affect
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in order to tie events that occur in the book to its predecessors. She uses humor, another convention she had used before, both to criticize racism and to balance her insights. She also uses quotes from literary sources, especially the Bible, which demonstrates that she has not lost contact with her
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Angelou strengthens her ties with Africa while traveling through eastern
Ghanaian villages, and through her relationships with several Africans. She describes a few romantic prospects, one of which is with a man who proposes that she become his "second wife" and accept West African customs. She also
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Angelou finds a job at the
University of Ghana and "falls in love" with the country and with its people, who remind her of African Americans she knew in Arkansas and California. As the parent of a young adult, she experiences new freedoms, respects Guy's choices, and consciously stops making her son
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Smithers calls
Angelou "no ordinary traveler" and Africa "no ordinary place". He goes on to state that Angelou uses her skilled use of metaphors to explore the themes of family, home, and identity to Blacks of the diaspora. At first, she believes that Ghana and the continent of Africa could provide
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asked her in a 1998 interview if she changed the truth to improve her story; 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
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Angelou is able to recognize similarities between African and African-American culture; as Lupton puts it, the "blue songs, shouts, and gospels" she has grown up with in America "echo the rhythms of West Africa". She recognizes the connections between African and American Black cultures, including
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to Berlin and Venice is a digression that detracts from the African setting, but Lupton sees it as a contribution to Angelou's character development and provides the book with a "universal quality" as Angelou reaches beyond the confines of her personal life and encounters racism in Germany. During
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can be read on its own, Angelou connects the events in the book with her previous volumes, as she had done throughout her series. As McPherson states, "Everyday experiences serve as links to Angelou's past and thus embody powerful meanings". Events that occur in the book and Angelou's responses to
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All of Angelou's autobiographies 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. Although Angelou referred to her books as autobiographies in a 1983 interview with African-American
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Angelou examines many of the same subjects and themes that her previous autobiographies covered. Although motherhood is an important theme in this book, it does not overwhelm the text as it does in some of her other works. At the end of the book, she ties up the mother/son plot when she leaves her
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Angelou was one of over two hundred Black American expatriates living in Accra at the time. She was able to find a small group of expatriates, humorously dubbed "the Revolutionary Returnees", who became her main source of support as she struggled with her place in African culture—"the conflicting
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begins with Guy's accident, his long recovery, and his mother's reaction to it, thus universalizing the fear of every parent—the death of a child. The main character is a mother of a grown son, so liberation from the daily responsibilities of motherhood is emphasized, but it is complicated by the
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autobiographical narratives "historically, quite extraordinary" because Black women of the diaspora did not tend to travel to Africa like she did in the early 1960s. Smithers places Angelou's work "among a small but incredibly gifted group of African American women travel writers", beginning with
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when he was a child, and to the forced departure from Africa by her ancestors. As Lupton states, "Angelou's journey from Africa back to America is in certain ways a restatement of the historical phase known as mid-passage, when slaves were brutally transported in ships from West Africa to the
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and the beginning of this one, a technique that both centralizes each installment and connects the two books with each other. It also creates a strong and emotional link between the two autobiographies. Angelou has said that she used this technique so that each book would stand alone and to
193:", the parallels and connections between the African and American parts of her history, character, and identity. Racism continues to be an important theme in this book. Journey and a sense of home is another important theme in this book; Angelou upholds the African-American tradition of the
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Angelou and her roommates reluctantly hire a village boy named Kojo to do housework for them. He reminds her of her brother Bailey, and he serves as a substitute for her son Guy. She accepts a maternal role with Kojo, helping him with his schoolwork and welcoming the thanks of his family.
1046:. Even though the book left interviewer Russell Harris with "a haunting feeling", he found the book more "pedantic" than her previous books, and thought that it contained fewer fictional aspects compared to Angelou's other autobiographies. Scholar John C. Gruesser found the conflicts in
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into the genre of African diasporic travel writing in the Atlantic world. He also states that the book highlights "the autobiographical tradition in black diaspora travel literature and the ambiguous image of Africa among diaspora blacks since the 1980s". Smithers also calls Angelou's
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the children's games, the folklore, the spoken and non-verbal languages, the food, sensibilities, and behavior. She connects the behavior of many African mother figures, especially their generosity, with her grandmother's behaviors. In one of the most significant sections of
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is Angelou's fifth book in her series of autobiographies, it is able to stand on its own. Houston A. Baker Jr., in his review of the book, calls Angelou "one of the geniuses of Afro-American serial autobiography". Interviewer Connie Martinson told Angelou, "You make me, the
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revival. She revives her passion for African-American culture as she associates with other African Americans. Angelou is also taught an important lesson about combating racism by Malcolm X, who compares it to a mountain in which everyone's efforts, even the efforts of
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talked her into publishing the book by encouraging her to "tell the truth as a writer" and "be honest about it". Through the writing of her life stories, Angelou has become recognized and highly respected as a spokesperson for Blacks and women. It made her, as scholar
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Malcolm X's exhortation to return helps her realize that perhaps "Africa was not home after all", but that America was. It also helped her reassess who she was as a Black women of the diaspora and her identity in relation to Africa. The final scene of the book is at
181:, to the point that she was able to play with the form and structure of the work. As in her previous books, it consists of a series of anecdotes connected by theme. She depicts her struggle with being the mother of a grown son, and with her place in her new home.
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period in the U.S., when truth was often censored for purposes of self-protection. Hagen places Angelou in the long tradition of African-American autobiography, but insists that Angelou has created a unique interpretation of the autobiographical form. Journalist
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to demonstrate both her and her fellow expatriates' tenuous relationship with Africa and her desire for full citizenship and assimilation, an "unattainable goal that falls outside of her desire for assimilation" and something she can never acquire in Ghana.
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866:. Her friend, Julian Mayfield, introduces her to Efua Sutherland, who becomes Angelou's "Sister friend" and allows Angelou to cry out her pain, grief, and fear, something Angelou later admitted went against her American upbringing of emotional restraint.
395:, and the accident occurs three days after they arrive. Following Guy's long convalescence, they remain in Ghana, Angelou for four years, from 1962 to 1965. Angelou describes Guy's recovery, including her deep depression. She is confronted by her friend
783:, one that many critics overlook, is Angelou's love for her son. The theme of motherhood and kinship concerns is one of Angelou's most consistent themes throughout her series of autobiographies, although it does not overwhelm this book as it does in
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the center of her life. She creates new friendships with her roommates and native Africans, both male and female. She becomes part of a group of American expatriates whom she calls the "Revolutionist Returnees", people such as Mayfield and his wife
626:"no simple 'travelling' account" and states that it establishes Angelou as "an existential discoverer". Gagiano recognizes that the book is an autobiography, but "of a very particular kind". Like the other three memoirs Gagiano discusses,
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can be categorized as what she calls "roots tourism", but that it is more rare and introspective because it contains "unusually strong and articulate historical accounts and sociopolitical analysis". Scholar Gregory D. Smithers places
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was greeted with both praise and disappointment, although reviews of the book were generally positive. According to the Poetry Foundation, "Most critics have judged Angelou's subsequent autobiographies in light of her first, and
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unresolved and the ending "too easily manufactured at the last minute to resolve the problem of the book". Reviewer Deborah E. McDowell agreed, and found the resolution of the plot to be "stereotyped and unauthentic".
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to Americans as a people. The travel motif is seen throughout Angelou's series of autobiographies, emphasizing what Lupton describes as Angelou's "continuing journey of the self". Angelou continues the travel motif in
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is "more tightly controlled" than Angelou's previous books, most likely due to the dominance of the travel motif. Gagiano compares this book with three other travel narratives written by female authors from the West:
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her personality. Angelou comes to terms with her difficult past, both as a descendant of Africans taken forcibly to America as slaves and as an African American who has experienced racism. As she tells interviewer
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Als called Angelou one of the "pioneers of self-exposure", willing to focus honestly on the more negative aspects of her personality and choices. For example, while Angelou was composing her second autobiography,
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cultural roots. She "falls in love" with Ghana and wishes to settle into her new home "as a baby nuzzles in a mother's arms". Despite this presentation of Africa, however, and despite Angelou's membership in the
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is "a mixture of Maya Angelou's personal recollection and a historical document of the time in which it is set", the early 1960s. This was the first time that many Black Americans, due to the independence of
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states, Angelou was one of the first African-American female writers to publicly discuss her personal life, and one of the first to use herself as a central character in her books, something she continues in
793:. Motherhood is present in many of the book's subthemes—her relationship with her houseboy Kojo, her delight in being called "Auntie" by many African children, and her feelings toward "Mother Africa".
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by taking the action to Africa. Lupton, referring to the journey motif in the book, insists that its narrative point of view is "again sustained through the first-person autobiographer in motion".
1015:, as in her previous books, demonstrated Angelou's "broad appeal" to both her readers and her critics. The book's accuracy was verified by her close friend and fellow expatriate Julian Mayfield.
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series of seven autobiographies. The success of Angelou's previous autobiographies and the publication of four volumes of poetry had brought Angelou a considerable amount of fame by 1986.
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493:, who visits Ghana in 1964 to elicit the support of Black world leaders. He encourages Angelou to return to America to help him coordinate his efforts, as she had done for King in
1027:... live through it with you". Scholar Eugenia Collier, writing when the possibility of the publication of subsequent autobiographies in Angelou's series was uncertain, considers
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For the first and only time in Angelou's series of autobiographies, she repeats the same episode in detail—her son's automobile accident—at the end of her fourth autobiography,
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takes place during Ghana in the 1960s, "a historical epoch in which independence from British colonial rule was still a new phenomenon". It begins as Angelou's previous book,
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tribe based solely upon her appearance and behavior, which helps Angelou discover the similarities between her American traditions and those of her West African ancestors.
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son in Ghana and returns to America. According to scholar Mary Jane Lupton, "Angelou's exploration of her African and African-American identities" is an important theme in
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occurs in one setting, Accra, which contributes to and is tightly connected with her personal development. Angelou feels ambivalence about living in Ghana, which provides
265:"a work of art that eludes description", says that Angelou's work sets a precedent not only for other Black women writers, but for the genre of autobiography as a whole.
485:, she and her friends commemorate his 1963 march on Washington by organizing a parallel demonstration in Ghana. The demonstration becomes a tribute to African-American
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and of her own series of autobiographies. This time she focuses on "trying to get home", or on becoming assimilated in African culture, a goal she finds unattainable.
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O'Neale, Sondra (1984). "Reconstruction of the Composite Self: New Images of Black Women in Maya Angelou's Continuing Autobiography". In Evans, Mari (ed.).
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them evoke earlier moments in her previous books; for example, Angelou responds to her son's accident with muteness, as she had responded to her rape in
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She also describes the journeys of her fellow expatriates, which McPherson compares to the descriptions of white expatriates in Europe in the 1920s by
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Smithers, Gregory D. (2011). "Challenging a Pan-African Identity: The Autobiographical Writings of Maya Angelou, Barack Obama, and Caryl Phillips".
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seven-volume autobiography series. Set between 1962 and 1965, the book begins when Angelou is 33 years old, and recounts the years she lived in
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747:. Setting, always an important element for Angelou, becomes even more important in this book. Unlike her previous books, most of the action in
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than in her previous autobiographies. Her approach parallels the conventions of many African-American autobiographies written during the
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Braxton, Joanne M. (1999). "Symbolic Geography and Psychic Landscapes: A Conversation with Maya Angelou". In Braxton, Joanne M. (ed.).
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All seven of Angelou's installments of her life story continue the long tradition of African-American autobiography. Starting with
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facts in her stories, she fictionalizes them to make an impact and to enhance her readers' interest. Angelou's long-time editor,
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this trip, she comes to see her fellow African Americans differently, as more spirited than the Africans she has met in Ghana.
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The journey, or travel, is a common theme in American autobiography as a whole; as McPherson states, it is something of a
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Like many of her previous books, Angelou is conflicted about her feelings towards Guy, and is skilled at expressing it in
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Angelou recognizes that there are fictional aspects to all her books, although there is less fictionalization in
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is interrupted by "a journey within a journey" when she decides to join a theatrical company in a revival of
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Heart of a Woman, Mind of a Writer, and Soul of a Poet: A Critical Analysis of the Writings of Maya Angelou
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236:(1978), her third volume of poetry, reinforced Angelou's success as a writer. Her first volume of poetry,
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Gagiano, Annie (2019). "Recovering and Recovering from an African Past: Four Women's Quest Narratives".
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Not only is Angelou a Black American, whether she likes it or not, "she is a Black American in exile".
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Angelou's exploration of her African and African-American identities is an important theme in
555:
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98:
2673:
Gruesser, John C. (Spring 1990). "Afro-American Travel Literature and Africanist Discourse".
1556:
1548:
869:
Racism, an important theme in all of Angelou's autobiographies, continues to be important in
189:. By the end of the book, Angelou comes to term with what scholar Dolly McPherson calls her "
3183:
3031:
2734:
2616:
Collier, Eugenia (October 1986). "Maya Angelou: From 'Caged Bird' to 'All God's Children'".
1544:
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859:
558:. While in Berlin, she accepts a breakfast invitation with a racist, wealthy German family.
547:
232:
143:
474:. During one of her travels through West Africa, a woman identifies her as a member of the
345:. African-American scholar Lyman B. Hagen reports that the title comes from the spiritual "
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1086:, tested Angelou's DNA and found that she was genetically related to the Bambara people.
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821:. Gregory D. Smithers, in his comparison of the book with two other travel narratives,
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28:
3227:
2781:
Harris, Russell (1989). "Zelo Interviews Maya Angelou". In Elliot, Jeffrey M. (ed.).
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366:
301:
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899:
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707:. As is customary in autobiography in general, she uses the literary convention of
587:
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147:
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received a mixed reception from critics, but most of their reviews were positive.
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It was Angelou's early practice to alternate a prose volume with a poetry volume.
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and other African states, as well as the emergence of African leaders such as
250:
2746:
2629:
Blundell, Janet B. (1986-03-15). "All God's Children Need Traveling Shoes".
1031:"the apex toward which the other autobiographies have pointed". Hagen calls
681:
669:
490:
489:, who died the previous evening. A few pages later, she allies herself with
2785:. Jackson, Mississippi: University Press of Mississippi. pp. 165–172.
2408:
Gropman, Jackie. (August 1986). "All God's Children Need Traveling Shoes",
2886:
2879:
2185:
Gillespie, Marcia Ann; Butler, Rosa Johnson; Long, Richard A. (2008).
664:
539:
535:
1684:
Act Like You Know: African-American Autobiography and White Identity
481:
Although Angelou is disillusioned with the nonviolent strategies of
1611:
Tate, Claudia (1999). "Maya Angelou". In Braxton, Joanne M. (ed.).
668:
According to Angelou, even though they had met previously, she and
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445:
427:
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210:
155:
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876:
Angelou learns lessons about herself and about racism throughout
215:
Angelou reciting her poem "On the Pulse of Morning" at President
2890:
2822:
Order Out of Chaos: The Autobiographical Works of Maya Angelou
755:
with richness and depth. Angelou's inclusion of her tour with
712:
family roots as she searches for a home and for her identity.
695:"reflective" and its writer "introspective and deeply moved".
2228:
Maya Angelou: All God's Children Need Traveling Shoes, Part 1
258:. Writer Julian Mayfield, who calls her first autobiography,
2689:
McDowell, Deborah E. (October 1986). "Traveling Hopefully".
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1613:
Maya Angelou's I Know Why the Caged Bird Sings: A Casebook
1510:
Maya Angelou's I Know Why the Caged Bird Sings: A Casebook
1422:
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1273:
Maya Angelou's I Know Why the Caged Bird Sings: A Casebook
1133:
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940:. Like in the other autobiographies Gagiano compares with
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2607:. Connie Martinson Talks Books. Retrieved 6 August 2024.
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2316:. Connie Martinson Talks Books. Retrieved 4 August 2024.
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288:... America's most visible black woman autobiographer".
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2849:
Black Women Writers (1950–1980): A Critical Evaluation
1553:
Black Women Writers (1950–1980): A Critical Evaluation
1208:"Songbird: Maya Angelou Takes Another Look at Herself"
1182:
1180:
880:, even during her brief tour of Venice and Berlin for
2965:
Singin' and Swingin' and Gettin' Merry like Christmas
991:
Singin' and Swingin' and Gettin' Merry Like Christmas
845:", which contribute to her understanding of herself.
790:
Singin' and Swingin' and Gettin' Merry Like Christmas
171:
As she had started to do in her first autobiography,
2851:. Garden City, New York: Doubleday. pp. 25–36.
1011:
remains the most highly praised". Hagen states that
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1042:Some critics were less favorable in their views of
122:
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59:
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41:
501:'s lack of support for the civil rights movement.
2766:. Lanham, Maryland: University Press of America.
2600:"All God's Children Need Traveling Shoes, Part 3"
2309:"All God's Children Need Traveling Shoes, Part 2"
1549:"Maya Angelou and the Autobiographical Statement"
898:I never agreed, even as a young person, with the
370:, which is full of Tikaram's love of literature.
322:When I get to heab'n I'm goin' to put on my shoes
226:, published in 1986, is the fifth installment of
3018:Just Give Me a Cool Drink of Water 'fore I Diiie
1687:. Chicago: University of Chicago Press. p.
1368:
1366:
239:Just Give Me a Cool Drink of Water 'fore I Diiie
896:
328:Ev'rybody talkin' 'bout heab'n ain't goin' dere
316:
3074:Phenomenal Woman: Four Poems Celebrating Women
2404:
2402:
2220:
2218:
2902:
8:
3067:The Complete Collected Poems of Maya Angelou
1244:
1242:
1240:
979:Angelou's issues are resolved at the end of
21:
1991:
1847:
2909:
2895:
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2804:. Westport, Connecticut: Greenwood Press.
1159:"Maya Angelou, The Art of Fiction No. 119"
1152:
1150:
1148:
1146:
391:, they come to Accra to enroll Guy in the
162:, begins where Angelou's previous memoir,
142:, published in 1986, is the fifth book in
27:
20:
3088:Celebrations, Rituals of Peace and Prayer
2464:
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2342:
2003:
1927:
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399:, who introduces her to writer and actor
3127:Wouldn't Take Nothing for My Journey Now
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1400:"Twist In My Sobriety by Tanita Tikaram"
770:Themes in Maya Angelou's autobiographies
332:I'm goin' to walk all ovah God's Heab'n
22:All God's Children Need Traveling Shoes
2979:All God's Children Need Traveling Shoes
2708:All God's Children Need Traveling Shoes
2535:
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1615:. New York: Oxford Press. p. 153.
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1044:All God's Children Need Traveling Shoes
1004:All God's Children Need Traveling Shoes
462:becomes a supporter of Ghana president
442:All God's Children Need Traveling Shoes
379:All God's Children Need Traveling Shoes
324:I'm goin' to walk all ovah God's Heab'n
224:All God's Children Need Traveling Shoes
201:All God's Children Need Traveling Shoes
139:All God's Children Need Traveling Shoes
35:All God's Children Need Traveling Shoes
3025:Oh Pray My Wings Are Gonna Fit Me Well
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2189:. New York: Random House. p. 69.
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1316:. Negro spirituals.com. Archived from
1231:
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534:, she plays the White Queen and tours
158:. The book, deriving its title from a
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1979:
1960:
1900:
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1275:. New York: Oxford Press. p. 4.
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466:and close friends with tribal leader
7:
2187:Maya Angelou: A Glorious Celebration
2825:. New York: Peter Lang Publishing.
1512:. New York: Oxford Press. pp.
672:(pictured) became friends in Ghana.
337:According to Angelou, the title of
2802:Maya Angelou: A Critical Companion
2693:(4): 17. Quoted in Lupton, p. 144.
2680:(1): 18. Quoted in Lupton, p. 144.
2620:, p. 24. Quoted in Lupton, p. 139.
2225:Martinson, Connie (15 June 2010).
722:The Devil that Danced on the Water
14:
2480:Baker, Houston A. (11 May 1986).
3239:African-American autobiographies
2727:Journal of Transatlantic Studies
542:with the company, which include
419:
412:
33:Cover from the first edition of
2951:I Know Why the Caged Bird Sings
2783:Conversations with Maya Angelou
2675:Black American Literature Forum
2416:: 113. Quoted in Hagen, p. 110.
1555:. New York: Doubleday. p.
1508:. In Braxton, Joanne M. (ed.).
1009:I Know Why the Caged Bird Sings
809:that motherhood is never over.
572:I Know Why the Caged Bird Sings
261:I Know Why the Caged Bird Sings
174:I Know Why the Caged Bird Sings
2637:: 64. Quoted in Hagen, p. 110.
1206:Als, Hilton (5 January 2002).
1157:Plimpton, George (Fall 1990).
320:All o' God's chillun got shoes
1:
3159:Hallelujah! The Welcome Table
1314:"All God's Chillun Got Wings"
420:
284:has stated, "without a doubt,
3134:Even the Stars Look Lonesome
2819:McPherson, Dolly A. (1990).
242:(1971), was nominated for a
3095:Mother: A Cradle to Hold Me
3081:A Brave and Startling Truth
3039:Shaker, Why Don't You Sing?
2868:Journal of American Studies
2691:The Women's Review of Books
740:Looking for Transwonderland
458:, who share her struggles.
347:All God's Chillun Got Wings
217:Bill Clinton's inauguration
16:1986 memoir by Maya Angelou
3275:
2958:Gather Together in My Name
2800:Lupton, Mary Jane (1998).
2739:10.1057/s42738-019-00025-x
2710:. New York: Random House.
1681:Sartwell, Crispin (1998).
785:Gather Together in My Name
767:
522:, a play by French writer
352:British singer-songwriter
318:I got shoes, you got shoes
272:Gather Together in My Name
2986:A Song Flung Up to Heaven
657:establish the setting in
512:The African narrative in
405:National Theatre of Ghana
128:A Song Flung Up to Heaven
26:
3166:Great Food, All Day Long
3109:Life Doesn't Frighten Me
3046:Now Sheba Sings the Song
2762:Hagen, Lyman B. (1997).
1551:. In Evans, Mari (ed.).
576:autobiographical fiction
291:According to McPherson,
3060:On the Pulse of Morning
2482:"Part Five—Into Africa"
1504:Gilbert, Susan (1999).
905:You Can't Go Home Again
2993:Mom & Me & Mom
2706:Angelou, Maya (1986).
2410:School Library Journal
1079:African American Lives
995:so-called New World".
913:
887:Shirley Graham Du Bois
673:
483:Martin Luther King Jr.
440:Most of the action of
403:, the Director of the
334:
220:
3244:Books by Maya Angelou
3141:Letter to My Daughter
1084:Henry Louis Gates Jr.
1076:The 2008 documentary
1055:Explanatory footnotes
911:--Maya Angelou, 1990
824:Dreams from My Father
667:
654:The Heart of a Woman,
642:Elsanda Goode Robeson
526:. As she had done in
214:
3249:Novels about writers
3234:1986 American novels
3053:I Shall Not Be Moved
2972:The Heart of a Woman
970:Houston A. Baker Jr.
843:double-consciousness
532:The Heart of a Woman
495:The Heart of a Woman
437:class=notpageimage|
384:The Heart of a Woman
362:Twist in My Sobriety
191:double-consciousness
165:The Heart of a Woman
115:The Heart of a Woman
3254:Novels set in Ghana
2577:, pp. 110–111.
2440:, pp. 274–275.
2298:, pp. 493–494.
2267:, pp. 491–492.
2212:, pp. 156–157.
2060:, pp. 154–155.
1903:, pp. 111–112.
1252:. Poetry Foundation
972:, in his review of
962:March on Washington
393:University of Ghana
23:
3259:Random House books
2486:The New York Times
1372:McPherson, p. 107.
1320:on 16 October 2014
999:Critical reception
834:The Atlantic Sound
674:
586:literature critic
562:of her ancestors.
356:uses the title of
308:during this time.
221:
3221:
3220:
3211:Down in the Delta
2196:978-0-385-51108-7
1545:Cudjoe, Selwyn R.
1506:"Paths to Escape"
1482:, pp. 29–30.
1470:, pp. 98–99.
1165:. Fall 1990 (116)
986:the Accra airport
779:A major theme in
556:Roscoe Lee Browne
530:and described in
135:
134:
82:Publication place
3266:
3184:Georgia, Georgia
3032:And Still I Rise
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954:African diaspora
934:Ernest Hemingway
930:Traveling Shoes.
860:Connie Martinson
548:James Earl Jones
423:
422:
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287:
233:And Still I Rise
146:writer and poet
144:African-American
123:Followed by
110:Preceded by
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1048:Traveling Shoes
1037:Traveling Shoes
1033:Traveling Shoes
1029:Traveling Shoes
1024:
1020:Traveling Shoes
1013:Traveling Shoes
1001:
981:Traveling Shoes
974:Traveling Shoes
942:Traveling Shoes
926:George Plimpton
922:Traveling Shoes
895:
878:Traveling Shoes
871:Traveling Shoes
851:Traveling Shoes
819:Traveling Shoes
815:
807:Traveling Shoes
803:Traveling Shoes
795:Traveling Shoes
781:Traveling Shoes
777:
772:
766:
753:Traveling Shoes
749:Traveling Shoes
716:Traveling Shoes
700:Traveling Shoes
693:Traveling Shoes
689:Traveling Shoes
678:Traveling Shoes
659:Traveling Shoes
650:
638:African Journey
633:Traveling Shoes
628:Traveling Shoes
624:Traveling Shoes
620:slave narrative
608:George Plimpton
599:Traveling Shoes
592:Traveling Shoes
580:slave narrative
568:
552:Lou Gossett Jr.
514:Traveling Shoes
507:Traveling Shoes
451:
450:
449:
444:takes place in
439:
433:
432:
431:
430:
424:
401:Efua Sutherland
397:Julian Mayfield
376:
358:Traveling Shoes
339:Traveling Shoes
335:
331:
329:
327:
325:
323:
321:
319:
314:
293:Traveling Shoes
285:
256:Traveling Shoes
209:
195:slave narrative
187:Traveling Shoes
179:Traveling Shoes
160:Negro spiritual
37:
17:
12:
11:
5:
3272:
3270:
3262:
3261:
3256:
3251:
3246:
3241:
3236:
3226:
3225:
3219:
3218:
3216:
3215:
3206:
3204:
3200:
3199:
3197:
3196:
3192:Sister, Sister
3188:
3179:
3177:
3173:
3172:
3170:
3169:
3162:
3154:
3152:
3148:
3147:
3145:
3144:
3137:
3130:
3122:
3120:
3116:
3115:
3113:
3112:
3105:
3098:
3091:
3084:
3077:
3070:
3063:
3056:
3049:
3042:
3035:
3028:
3021:
3013:
3011:
3005:
3004:
3002:
3001:
2996:
2989:
2982:
2975:
2968:
2961:
2954:
2946:
2944:
2940:
2939:
2932:
2930:
2926:
2925:
2916:
2914:
2913:
2906:
2899:
2891:
2885:
2884:
2874:(3): 483–502.
2863:
2857:
2844:
2831:
2816:
2810:
2797:
2791:
2778:
2772:
2759:
2733:(3): 269–289.
2722:
2716:
2701:
2698:
2696:
2695:
2682:
2666:
2664:, p. 166.
2651:
2649:, p. 283.
2639:
2622:
2618:New Directions
2609:
2591:
2589:, p. 111.
2579:
2567:
2565:, p. 110.
2552:
2550:, p. 163.
2540:
2538:, p. 208.
2525:
2523:, p. 492.
2513:
2511:, p. 274.
2498:
2469:
2467:, p. 112.
2465:McPherson 1990
2457:
2455:, p. 150.
2442:
2430:
2428:, p. 144.
2418:
2398:
2396:, p. 284.
2386:
2384:, p. 146.
2374:
2372:, p. 107.
2370:McPherson 1990
2362:
2360:, p. 273.
2347:
2345:, p. 104.
2343:McPherson 1990
2330:
2328:, p. 156.
2318:
2300:
2288:
2286:, p. 493.
2269:
2257:
2242:
2214:
2202:
2195:
2177:
2175:, p. 154.
2162:
2160:, p. 152.
2150:
2148:, p. 483.
2135:
2133:, p. 157.
2123:
2121:, p. 145.
2106:
2104:, p. 148.
2089:
2087:, p. 143.
2077:
2075:, p. 147.
2062:
2050:
2048:, p. 141.
2035:
2033:, p. 269.
2023:
2021:, p. 146.
2008:
2006:, p. 111.
2004:McPherson 1990
1996:
1984:
1982:, p. 109.
1965:
1963:, p. 108.
1944:
1942:, p. 158.
1932:
1930:, p. 108.
1928:McPherson 1990
1920:
1918:, p. 151.
1905:
1893:
1891:, p. 168.
1881:
1879:, p. 142.
1864:
1862:, p. 128.
1852:
1837:
1835:, p. 490.
1818:
1816:, p. 485.
1803:
1801:, p. 271.
1786:
1784:, p. 275.
1774:
1772:, p. 120.
1770:McPherson 1990
1762:
1760:, p. 121.
1758:McPherson 1990
1747:
1735:
1723:
1721:, p. 6–7.
1711:
1697:
1673:
1671:, p. 112.
1652:
1650:, p. 103.
1648:McPherson 1990
1640:
1628:
1621:
1603:
1591:
1589:, p. 161.
1579:
1565:
1536:
1522:
1496:
1484:
1472:
1460:
1458:, p. 150.
1448:
1431:
1429:, p. 484.
1416:
1391:
1389:, p. 270.
1374:
1362:
1360:, p. 140.
1331:
1305:
1303:, p. 105.
1301:McPherson 1990
1288:
1281:
1263:
1250:"Maya Angelou"
1236:
1224:
1212:The New Yorker
1191:
1189:, p. 118.
1176:
1142:
1140:, p. 133.
1138:McPherson 1990
1127:
1125:, p. 139.
1097:
1095:
1092:
1089:
1088:
1082:, produced by
1069:
1059:
1058:
1056:
1053:
1000:
997:
894:
891:
839:Caryl Phillips
814:
811:
776:
773:
768:Main article:
765:
762:
731:Red Dust Road,
727:Aminatta Forna
649:
646:
567:
564:
499:Shirley Graham
487:W.E.B. Du Bois
435:
434:
426:
425:
418:
417:
411:
410:
409:
375:
372:
354:Tanita Tikaram
330:Heab'n, Heab'n
326:Heab'n, Heab'n
315:
313:
310:
306:Pan-Africanism
282:Joanne Braxton
244:Pulitzer Prize
228:Maya Angelou's
208:
205:
148:Maya Angelou's
133:
132:
124:
120:
119:
111:
107:
106:
101:
95:
94:
91:
87:
86:
83:
79:
78:
71:
67:
66:
61:
57:
56:
53:
49:
48:
43:
39:
38:
32:
15:
13:
10:
9:
6:
4:
3:
2:
3271:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
3242:
3240:
3237:
3235:
3232:
3231:
3229:
3213:
3212:
3208:
3207:
3205:
3201:
3194:
3193:
3189:
3186:
3185:
3181:
3180:
3178:
3174:
3168:
3167:
3163:
3161:
3160:
3156:
3155:
3153:
3149:
3143:
3142:
3138:
3136:
3135:
3131:
3129:
3128:
3124:
3123:
3121:
3117:
3111:
3110:
3106:
3103:
3099:
3097:
3096:
3092:
3090:
3089:
3085:
3082:
3078:
3076:
3075:
3071:
3069:
3068:
3064:
3061:
3057:
3055:
3054:
3050:
3048:
3047:
3043:
3041:
3040:
3036:
3034:
3033:
3029:
3027:
3026:
3022:
3020:
3019:
3015:
3014:
3012:
3010:
3006:
3000:
2997:
2995:
2994:
2990:
2988:
2987:
2983:
2981:
2980:
2976:
2974:
2973:
2969:
2967:
2966:
2962:
2960:
2959:
2955:
2953:
2952:
2948:
2947:
2945:
2941:
2937:
2936:
2931:
2927:
2923:
2919:
2912:
2907:
2905:
2900:
2898:
2893:
2892:
2889:
2881:
2877:
2873:
2869:
2864:
2860:
2858:0-385-17124-2
2854:
2850:
2845:
2834:
2832:0-8204-1139-6
2828:
2824:
2823:
2817:
2813:
2811:0-313-30325-8
2807:
2803:
2798:
2794:
2792:0-87805-362-X
2788:
2784:
2779:
2775:
2773:0-7618-0621-0
2769:
2765:
2760:
2756:
2752:
2748:
2744:
2740:
2736:
2732:
2728:
2723:
2719:
2717:0-679-73404-X
2713:
2709:
2704:
2703:
2699:
2692:
2686:
2683:
2679:
2676:
2670:
2667:
2663:
2658:
2656:
2652:
2648:
2647:Smithers 2011
2643:
2640:
2636:
2632:
2626:
2623:
2619:
2613:
2610:
2606:
2602:
2595:
2592:
2588:
2583:
2580:
2576:
2571:
2568:
2564:
2559:
2557:
2553:
2549:
2544:
2541:
2537:
2532:
2530:
2526:
2522:
2521:Smithers 2011
2517:
2514:
2510:
2505:
2503:
2499:
2487:
2483:
2476:
2474:
2470:
2466:
2461:
2458:
2454:
2449:
2447:
2443:
2439:
2434:
2431:
2427:
2422:
2419:
2415:
2411:
2405:
2403:
2399:
2395:
2394:Smithers 2011
2390:
2387:
2383:
2378:
2375:
2371:
2366:
2363:
2359:
2354:
2352:
2348:
2344:
2339:
2337:
2335:
2331:
2327:
2322:
2319:
2315:
2311:
2304:
2301:
2297:
2296:Smithers 2011
2292:
2289:
2285:
2284:Smithers 2011
2280:
2278:
2276:
2274:
2270:
2266:
2265:Smithers 2011
2261:
2258:
2255:, p. 12.
2254:
2249:
2247:
2243:
2230:
2229:
2221:
2219:
2215:
2211:
2206:
2203:
2198:
2192:
2188:
2181:
2178:
2174:
2169:
2167:
2163:
2159:
2154:
2151:
2147:
2146:Smithers 2011
2142:
2140:
2136:
2132:
2127:
2124:
2120:
2115:
2113:
2111:
2107:
2103:
2098:
2096:
2094:
2090:
2086:
2081:
2078:
2074:
2069:
2067:
2063:
2059:
2054:
2051:
2047:
2042:
2040:
2036:
2032:
2027:
2024:
2020:
2015:
2013:
2009:
2005:
2000:
1997:
1994:, p. 26.
1993:
1988:
1985:
1981:
1976:
1974:
1972:
1970:
1966:
1962:
1957:
1955:
1953:
1951:
1949:
1945:
1941:
1936:
1933:
1929:
1924:
1921:
1917:
1912:
1910:
1906:
1902:
1897:
1894:
1890:
1885:
1882:
1878:
1873:
1871:
1869:
1865:
1861:
1856:
1853:
1850:, p. 33.
1849:
1844:
1842:
1838:
1834:
1833:Smithers 2011
1829:
1827:
1825:
1823:
1819:
1815:
1814:Smithers 2011
1810:
1808:
1804:
1800:
1795:
1793:
1791:
1787:
1783:
1778:
1775:
1771:
1766:
1763:
1759:
1754:
1752:
1748:
1745:, p. 57.
1744:
1739:
1736:
1733:, p. 18.
1732:
1727:
1724:
1720:
1715:
1712:
1700:
1698:0-226-73527-3
1694:
1690:
1686:
1685:
1677:
1674:
1670:
1665:
1663:
1661:
1659:
1657:
1653:
1649:
1644:
1641:
1638:, p. 34.
1637:
1632:
1629:
1624:
1622:0-385-17124-2
1618:
1614:
1607:
1604:
1601:, p. 32.
1600:
1595:
1592:
1588:
1583:
1580:
1568:
1566:0-385-17124-2
1562:
1558:
1554:
1550:
1546:
1540:
1537:
1525:
1523:0-385-17124-2
1519:
1515:
1511:
1507:
1500:
1497:
1494:, p. 30.
1493:
1488:
1485:
1481:
1476:
1473:
1469:
1464:
1461:
1457:
1452:
1449:
1446:, p. 19.
1445:
1440:
1438:
1436:
1432:
1428:
1427:Smithers 2011
1423:
1421:
1417:
1405:
1401:
1395:
1392:
1388:
1383:
1381:
1379:
1375:
1369:
1367:
1363:
1359:
1354:
1352:
1350:
1348:
1346:
1344:
1342:
1340:
1338:
1336:
1332:
1319:
1315:
1309:
1306:
1302:
1297:
1295:
1293:
1289:
1284:
1282:0-385-17124-2
1278:
1274:
1267:
1264:
1251:
1245:
1243:
1241:
1237:
1234:, p. 14.
1233:
1228:
1225:
1213:
1209:
1202:
1200:
1198:
1196:
1192:
1188:
1183:
1181:
1177:
1164:
1160:
1153:
1151:
1149:
1147:
1143:
1139:
1134:
1132:
1128:
1124:
1119:
1117:
1115:
1113:
1111:
1109:
1107:
1105:
1103:
1099:
1093:
1085:
1081:
1080:
1073:
1070:
1064:
1061:
1054:
1052:
1049:
1045:
1040:
1038:
1034:
1030:
1021:
1016:
1014:
1010:
1005:
998:
996:
993:
992:
987:
982:
977:
975:
971:
966:
963:
957:
955:
949:
945:
943:
939:
935:
931:
927:
923:
918:
917:national myth
912:
909:
907:
906:
901:
892:
890:
888:
883:
879:
874:
872:
867:
865:
861:
856:
852:
846:
844:
840:
836:
835:
830:
826:
825:
820:
813:Race/Identity
812:
810:
808:
804:
799:
796:
792:
791:
786:
782:
774:
771:
763:
761:
758:
754:
750:
746:
745:Noo Saro-Wiwa
742:
741:
736:
732:
728:
724:
723:
717:
713:
710:
706:
701:
696:
694:
690:
685:
683:
679:
671:
666:
662:
660:
655:
647:
645:
643:
639:
634:
629:
625:
621:
616:
614:
613:Robert Loomis
609:
604:
600:
595:
593:
589:
583:
581:
577:
573:
565:
563:
559:
557:
553:
549:
545:
541:
537:
533:
529:
528:New York City
525:
521:
520:
515:
510:
508:
502:
500:
496:
492:
488:
484:
479:
477:
473:
469:
465:
464:Kwame Nkrumah
459:
457:
447:
443:
438:
429:
415:
408:
406:
402:
398:
394:
390:
386:
385:
380:
373:
371:
369:
368:
367:Ancient Heart
363:
360:in her song "
359:
355:
350:
348:
344:
341:comes from a
340:
333:
311:
309:
307:
303:
302:Kwame Nkrumah
299:
294:
289:
283:
278:
274:
273:
266:
264:
262:
257:
252:
247:
245:
241:
240:
235:
234:
229:
225:
218:
213:
206:
204:
202:
198:
196:
192:
188:
182:
180:
176:
175:
169:
167:
166:
161:
157:
153:
149:
145:
141:
140:
131:
129:
125:
121:
118:
116:
112:
108:
105:
104:0-394-52143-9
102:
100:
96:
92:
88:
85:United States
84:
80:
76:
72:
68:
65:
64:Autobiography
62:
58:
54:
50:
47:
44:
40:
36:
30:
25:
19:
3209:
3190:
3182:
3164:
3157:
3139:
3132:
3125:
3107:
3093:
3086:
3072:
3065:
3051:
3044:
3037:
3030:
3023:
3016:
2991:
2984:
2978:
2977:
2970:
2963:
2956:
2949:
2935:Miss Calypso
2933:
2922:Maya Angelou
2871:
2867:
2848:
2836:. Retrieved
2821:
2801:
2782:
2763:
2730:
2726:
2707:
2690:
2685:
2677:
2674:
2669:
2642:
2634:
2630:
2625:
2617:
2612:
2594:
2582:
2570:
2543:
2536:Angelou 1986
2516:
2509:Gagiano 2019
2489:. Retrieved
2485:
2460:
2438:Gagiano 2019
2433:
2421:
2413:
2409:
2389:
2382:Angelou 1986
2377:
2365:
2358:Gagiano 2019
2321:
2303:
2291:
2260:
2253:Angelou 1986
2233:. Retrieved
2227:
2205:
2186:
2180:
2153:
2126:
2080:
2053:
2031:Gagiano 2019
2026:
1999:
1992:O'Neale 1984
1987:
1935:
1923:
1896:
1884:
1855:
1848:O'Neale 1984
1799:Gagiano 2019
1782:Gagiano 2019
1777:
1765:
1738:
1726:
1714:
1702:. Retrieved
1683:
1676:
1643:
1631:
1612:
1606:
1594:
1582:
1570:. Retrieved
1552:
1539:
1527:. Retrieved
1509:
1499:
1487:
1475:
1463:
1456:Angelou 1986
1451:
1444:Angelou 1986
1407:. Retrieved
1403:
1394:
1387:Gagiano 2019
1322:. Retrieved
1318:the original
1308:
1272:
1266:
1254:. Retrieved
1227:
1215:. Retrieved
1211:
1167:. Retrieved
1163:Paris Review
1162:
1077:
1072:
1063:
1047:
1043:
1041:
1036:
1032:
1028:
1019:
1018:Even though
1017:
1012:
1008:
1003:
1002:
989:
980:
978:
973:
967:
958:
950:
946:
941:
929:
921:
914:
910:
903:
900:Thomas Wolfe
897:
893:Journey/Home
881:
877:
875:
870:
868:
863:
850:
847:
832:
829:Barack Obama
822:
818:
816:
806:
802:
800:
794:
788:
784:
780:
778:
756:
752:
748:
738:
730:
720:
715:
714:
704:
699:
698:Even though
697:
692:
688:
686:
677:
675:
658:
653:
651:
637:
632:
627:
623:
617:
603:abolitionist
598:
596:
591:
588:Claudia Tate
584:
571:
569:
560:
544:Cicely Tyson
531:
517:
513:
511:
506:
503:
494:
480:
468:Nana Nketsia
460:
452:
441:
382:
378:
377:
374:Plot summary
365:
357:
351:
338:
336:
317:
292:
290:
270:
267:
259:
255:
248:
237:
231:
223:
222:
200:
199:
186:
183:
178:
172:
170:
163:
138:
137:
136:
126:
113:
75:Random House
46:Maya Angelou
34:
18:
3176:Screenplays
2700:Works cited
2662:Harris 1989
2548:Lupton 1998
2453:Lupton 1998
2426:Lupton 1998
2326:Lupton 1998
2210:Lupton 1998
2173:Lupton 1998
2158:Lupton 1998
2131:Lupton 1998
2119:Lupton 1998
2102:Lupton 1998
2085:Lupton 1998
2073:Lupton 1998
2058:Lupton 1998
2046:Lupton 1998
2019:Lupton 1998
1940:Lupton 1998
1916:Lupton 1998
1889:Harris 1989
1877:Lupton 1998
1860:Lupton 1998
1636:Lupton 1998
1599:Lupton 1998
1587:Lupton 1998
1492:Lupton 1998
1480:Lupton 1998
1468:Lupton 1998
1358:Lupton 1998
1232:Lupton 1998
1123:Lupton 1998
938:Henry James
831:(1995) and
640:(1945), by
277:Paul Du Feu
3228:Categories
3102:We Had Him
2587:Hagen 1997
2575:Hagen 1997
2563:Hagen 1997
1980:Hagen 1997
1961:Hagen 1997
1901:Hagen 1997
1743:Hagen 1997
1731:Hagen 1997
1719:Hagen 1997
1669:Hagen 1997
1404:Song Facts
1187:Hagen 1997
882:The Blacks
864:Caged Bird
837:(2000) by
775:Motherhood
757:The Blacks
735:Jackie Kay
709:flashbacks
705:Caged Bird
524:Jean Genet
519:The Blacks
472:Kwesi Brew
251:Hilton Als
249:As writer
207:Background
3151:Cookbooks
2755:257159808
2747:1754-1018
2231:(YouTube)
1094:Citations
682:Malcolm X
670:Malcolm X
618:Like the
491:Malcolm X
470:and poet
456:Ana Livia
343:spiritual
70:Published
2880:23016785
2838:1 August
2491:5 August
2235:3 August
1704:1 August
1572:1 August
1547:(1984).
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1324:1 August
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448:, Ghana.
52:Language
2605:YouTube
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1256:30 June
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855:Bambara
476:Bambara
219:in 1993
55:English
3214:(1998)
3195:(1982)
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3009:Poetry
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536:Berlin
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3203:Films
2918:Works
2876:JSTOR
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743:, by
725:, by
648:Style
566:Genre
446:Accra
428:Accra
389:Cairo
312:Title
298:Ghana
156:Ghana
152:Accra
90:Pages
60:Genre
2853:ISBN
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