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American poet, author, and civil rights activist (1928–2014)

Maya Angelou (/audio=En us Maya Angelou. ogg/'/æ//n//dʒ//ə//l//oʊ/ ANjəloh; born Marguerite Annie Johnson; April 4, 1928 – May 28, 2014) was an American memoirist, poet, and civil rights activist. She published seven autobiographies, three books of essays, several books of poetry, and is credited with a list of plays, movies, and television shows spanning over 50 years. She received dozens of awards and more than 50 honorary degrees. was born in St. Louis, Missouri, on April 4, 1928, the second child of Bailey Johnson, a doorman and navy dietitian, and Vivian (Baxter) Johnson, a nurse and card dealer. Angelou's older brother, Bailey Jr., nicknamed Marguerite "Maya", derived from "My" or "Mya Sister". When Angelou was three and her brother four, their parents' "calamitous marriage" ended, and their father sent them to Stamps, Arkansas, alone by train, to live with their paternal grandmother, Annie Henderson. In "an astonishing exception" to the harsh economics of African Americans of the time, Angelou's grandmother prospered financially during the Great Depression and World War II, because the general store she owned sold basic and needed commodities and because "she made wise and honest investments". Four years later, when Angelou was seven and her brother eight, the children's father "came to Stamps without warning" and returned them to their mother's care in St. Louis. At the age of eight, while living with her mother, Angelou was sexually abused and raped by her mother's boyfriend, a man named Freeman. She told her brother, who told the rest of their family. Freeman was found guilty but was jailed for only one day. Four days after his release, he was murdered, probably by Angelou's uncles. Angelou became mute for almost five years, believing she was to blame for his death; as she stated: "I thought, my voice killed him; I killed that man, because I told his name. And then I thought I would never speak again, because my voice would kill anyone." According to Marcia Ann Gillespie and her colleagues, who wrote a biography about Angelou, it was during this period of silence when Angelou developed her extraordinary memory, her love for books and literature, and her ability to listen and observe the world around her. Angelou met novelist John Oliver Killens in 1959 and, at his urging, moved to New York to concentrate on her writing career. She joined the Harlem Writers Guild, where she met several major African American authors, including John Henrik Clarke, Rosa Guy, Paule Marshall, and Julian Mayfield, and was published for the first time. In 1960, after meeting civil rights leader Martin Luther King Jr. and hearing him speak, she and Killens organized "the legendary" Cabaret for Freedom to benefit the Southern Christian Leadership Conference (SCLC), and she was named SCLC's Northern Coordinator. According to scholar Lyman B. Hagen, her contributions to civil rights as a fundraiser and SCLC organizer were successful and "eminently effective". Angelou also began her pro Castro and anti apartheid activism during this time. She had joined the crowd cheering for Fidel Castro when he first entered the Hotel Theresa in Harlem, New York, during the United Nations 15th General Assembly on September 19, 1960.

In 1961, Angelou performed in Jean Genet's play The Blacks (playing the part of the Queen), along with Abbey Lincoln, Roscoe Lee Brown, James Earl Jones, Louis Gossett, Godfrey Cambridge, and Cicely Tyson. Also in 1961, she met South African freedom fighter Vusumzi Make; they never officially married. She and her son Guy moved with Make to Cairo, where Angelou worked as an associate editor at the weekly English language newspaper The Arab Observer. In 1962, her relationship with Make ended, and she and Guy moved to Accra, Ghana, so he could attend college, but he was seriously injured in an automobile accident. Angelou remained in Accra for his recovery and ended up staying there until 1965. She became an administrator at the University of Ghana and was active in the African American expatriate community. She was a feature editor for The African Review, a freelance writer for the Ghanaian Times, wrote and broadcast for Radio Ghana, and worked and performed for Ghana's National Theatre. She performed in a revival of The Blacks in Geneva and Berlin. In Accra, she became close friends with Malcolm X during his visit in the early 1960s. Angelou returned to the U. S. in 1965 to help him build a new civil rights organization, the Organization of Afro American Unity; he was assassinated shortly afterward. Devastated and adrift, she joined her brother in Hawaii, where she resumed her singing career. She moved back to Los Angeles to focus on her writing career. Working as a market researcher in Watts, Angelou witnessed the riots in the summer of 1965. She acted in and wrote plays and returned to New York in 1967. She met her lifelong friend Rosa Guy and renewed her friendship with James Baldwin, whom she had met in Paris in the 1950s and called "my brother", during this time. Her friend Jerry Purcell provided Angelou with a stipend to support her writing. In 1968, Martin Luther King Jr. asked Angelou to organize a march. She agreed, but postponed again, he was assassinated on her 40th birthday (April 4). Angelou had one son, Guy, whose birth she described in her first autobiography; one grandson, two great grandchildren, and, according to Gillespie, a large group of friends and extended family. Angelou's mother Vivian Baxter died in 1991 and her brother Bailey Johnson Jr., died in 2000 after a series of strokes; both were important figures in her life and her books. In 1981, the mother of her grandson disappeared with him; finding him took four years. Angelou did not earn a university degree, but according to Gillespie it was Angelou's preference to be called "Dr. Angelou" by people outside of her family and close friends. She owned two homes in Winston Salem, North Carolina, and a "lordly brownstone" and was full of her "growing library" of books she collected throughout her life, artwork collected over the span of many decades, and well stocked kitchens. The Guardian writer Gary Younge reported that in Angelou's Harlem home were several African wall hangings and her collection of paintings, including ones of several jazz trumpeters, a watercolor of Rosa Parks, and a Faith Ringgold work entitled "Maya's Quilt Of Life". She followed up in 2010 with her second cookbook, Great Food, All Day Long: Cook Splendidly, Eat Smart, which focused on weight loss and portion control. Beginning with I Know Why the Caged Bird Sings, Angelou used the same "writing ritual" She went through this process to "enchant" herself, and as she said in a 1989 interview with the British Broadcasting Corporation, "relive the agony, the anguish, the Sturm und Drang". She placed herself back in the time she wrote about, even traumatic experiences such as her rape in Caged Bird, to "tell the human truth" Angelou stated that she played cards to get to that place of enchantment and to access her memories more effectively. She said, "It may take an hour to get into it, but once I'm in it—ha! It's so delicious!"

Angelou died on the morning of May 28, 2014, at age 86. Although Angelou had been in poor health and had canceled recent scheduled appearances, she was working on another book, an autobiography about her experiences with national and world leaders. During her memorial service at Wake Forest University, her son Guy Johnson stated that despite being in constant pain due to her dancing career and respiratory failure, she wrote four books during the last ten years of her life. He said, "She left this mortal plane with no loss of acuity and no loss in comprehension." Tributes to Angelou and condolences were paid by artists, entertainers, and world leaders, including President Obama, whose sister was named after Angelou, and Bill Clinton. Harold Augenbraum, from the National Book Foundation, said that Angelou's "legacy is one that all writers and readers across the world can admire and aspire to." The week after Angelou's death, I Know Why the Caged Bird Sings rose to number 1 on Amazon. com's bestseller list. On June 7, a private memorial service was held at Wait Chapel on the campus of Wake Forest University in Winston Salem. The memorial was shown live on local stations in the Winston Salem/Triad area and streamed live on the university web site with speeches from her son, Oprah Winfrey, Michelle Obama, and Bill Clinton. On June 15, a memorial was held at Glide Memorial Church in San Francisco, where Angelou was a member for many years. Rev. Cecil Williams, Mayor Ed Lee, and former mayor Willie Brown spoke.

Angelou wrote a total of seven autobiographies. According to scholar Mary Jane Lupton, Angelou's third autobiography Singin' and Swingin' and Gettin' Merry Like Christmas marked the first time a well known African American autobiographer had written a third volume about her life. Her books "stretch over time and place", from Arkansas to Africa and back to the U. S., and take place from the beginnings of World War II to the assassination of Martin Luther King Jr. In her fifth autobiography, All God's Children Need Traveling Shoes (1986), Angelou tells about her return to Ghana searching for the past of her tribe. She published her seventh autobiography Mom & Me & Mom in 2013, at the age of 85. Critics have tended to judge Angelou's subsequent autobiographies "in light of the first", with Caged Bird receiving the highest praise. Angelou wrote five collections of essays, which writer Hilton Als called her "wisdom books" and "homilies strung together with autobiographical texts". and has been called "one of publishing's hall of fame editors." Angelou said regarding Loomis: "We have a relationship that's kind of famous among publishers." Angelou's long and extensive career also included poetry, plays, screenplays for television and film, directing, acting, and public speaking. She was a prolific writer of poetry; her volume Just Give Me a Cool Drink of Water 'fore I Diiie (1971) was nominated for the Pulitzer Prize, and she was chosen by U. S. president Bill Clinton to recite her poem "On the Pulse of Morning" during his inauguration in 1993. Angelou's successful acting career included roles in numerous plays, films, and television programs, among them her appearance in the television mini series Roots in 1977. Her screenplay, Georgia, Georgia (1972), was the first original script by a Black woman to be produced, and she was the first African American woman to direct a major motion picture, Down in the Delta, in 1998. Writer Julian Mayfield, who called Caged Bird "a work of art that eludes description", It made her "without a doubt,  America's most visible black woman autobiographer", As writer Gary Younge said, "Probably more than almost any other writer alive, Angelou's life literally is her work."

Reviewer Elsie B. Washington called Angelou "the black woman's poet laureate". Sales of the paperback version of her books and poetry rose by 300–600% the week after Angelou's recitation. Random House, which published the poem later that year, had to reprint 400,000 copies of all her books to keep up with the demand. They sold more of her books in January 1993 than they did in all of 1992, accounting for a 1,200% increase. Angelou famously said, in response to criticism regarding using the details of her life in her work, "I agree with Balzac and 19th century writers, black and white, who say, 'I write for money'." Some have been critical of the book's sexually explicit scenes, use of language, and irreverent depictions of religion. Caged Bird appeared third on the American Library Association (ALA) list of the 100 Most Frequently Challenged Books of 1990–2000 and sixth on the ALA's 2000–2009 list.

Angelou was honored by universities, literary organizations, government agencies, and special interest groups. Her honors included a Pulitzer Prize nomination for her book of poetry, Just Give Me a Cool Drink of Water 'fore I Diiie, She served on two presidential committees, and was awarded the Spingarn Medal in 1994, the National Medal of Arts in 2000, and the Presidential Medal of Freedom in 2011. Angelou was awarded more than fifty honorary degrees. In 2021, the United States Mint announced that Angelou would be among the first women depicted on the reverse of the quarter as a part of the American Women quarters series. The coins were released in January 2022. She is the first Black woman to be depicted on a quarter.

Angelou's autobiographies have been used in narrative and multicultural approaches in teacher education. Jocelyn A. Glazier, a professor at George Washington University, has trained teachers how to "talk about race" in their classrooms with I Know Why the Caged Bird Sings and Gather Together in My Name. According to Glazier, Angelou's use of understatement, self mockery, humor, and irony have left readers of Angelou's autobiographies unsure of what she left out and how they should respond to the events she described. Angelou's depictions of her experiences of racism have forced white readers to either explore their feelings about race and their own "privileged status", or to avoid the discussion as a means of keeping their privilege. Glazier found that critics have focused on the way Angelou fits within the genre of African American autobiography and on her literary techniques, but readers have tended to 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. He argued that Angelou's book has provided a "useful framework" for exploring the obstacles many children like Maya have faced and how their communities have helped them succeed. Psychologist Chris Boyatzis has reported using 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 found Caged Bird a "highly effective" tool for providing real life examples of these psychological concepts.

Angelou's use of fiction writing techniques such as dialogue, characterization, and development of theme, setting, plot, and language has often resulted in the placement of her books into the genre of autobiographical fiction. Angelou made a deliberate attempt in her books to challenge the common structure of the autobiography by critiquing, changing, and expanding the genre. Scholar Mary Jane Lupton argues that 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. Angelou recognizes that there are fictional aspects to her books; Lupton agrees, stating that Angelou tended to "diverge from the conventional notion of autobiography as truth", which parallels the conventions of much of African American autobiography written during the abolitionist period of U. S. history, when as both Lupton and African American scholar Crispin Sartwell put it, the truth was censored out of the need for self protection. Scholar Lyman B. Hagen places Angelou in the long tradition of African American autobiography but claims that Angelou created a unique interpretation of the autobiographical form. According to African American literature scholar Pierre A. Walker, the challenge for much of the history of African American literature was that its authors have had to confirm its status as literature before they could accomplish their political goals, which was why Angelou's editor Robert Loomis was able to dare her into writing Caged Bird by challenging her to write an autobiography that could be considered "high art". Angelou acknowledged that she followed the slave narrative tradition of "speaking in the first person singular talking about the first person plural, always saying I meaning 'we'". Scholar Lynn Z. Bloom compares Angelou's works to the writings of Frederick Douglass, stating that both fulfilled the same purpose: to describe Black culture and to interpret it for their wider, white audiences. According to scholar Sondra O'Neale, Angelou's poetry can be placed within the African American oral tradition, and her prose "follows classic technique in nonpoetic Western forms". O'Neale states that Angelou avoided using a "monolithic Black language", and accomplished, through direct dialogue, what O'Neale calls a "more expected ghetto expressiveness". McWhorter asserts, for example, that key figures in Angelou's books, like herself, her son Guy, and mother Vivian do not speak as one would expect, and that their speech is "cleaned up" for her readers. Guy, for example, represents the young Black male, while Vivian represents the idealized mother figure, and the stiff language they use, as well as the language in Angelou's text, is intended to prove that Blacks can use standard English competently. McWhorter recognizes that much of the reason for Angelou's style was the "apologetic" nature of her writing. According to Hagen, Angelou's works were influenced by both conventional literary and the oral traditions of the African American community. For example, she referenced more than 100 literary characters throughout her books and poetry. In addition, she used the elements of blues music, including the act of testimony when speaking of one's life and struggles, ironic understatement, and the use of natural metaphors, rhythms, and intonations. Angelou, instead of depending upon plot, used personal and historical events to shape her books.

Angelou, Maya (1969). I Know Why the Caged Bird Sings. New York: Random House. Angelou, Maya (1993). Wouldn't Take Nothing for My Journey Now. New York: Random House. Angelou, Maya (2008). Letter to My Daughter. New York: Random House. Braxton, Joanne M., ed. (1999). Maya Angelou's I Know Why the Caged Bird Sings: A Casebook. New York: Oxford Press. Braxton, Joanne M. "Symbolic Geography and Psychic Landscapes: A Conversation with Maya Angelou", pp. 3–20
Tate, Claudia. "Maya Angelou: An Interview", pp. 149–158
Burr, Zofia (2002). Of Women, Poetry, and Power: Strategies of Address in Dickinson, Miles, Brooks, Lorde, and Angelou. Urbana, Illinois: University of Illinois Press. DeGout, Yasmin Y. (2009). "The Poetry of Maya Angelou: Liberation Ideology and Technique". In Bloom's Modern Critical Views – Maya Angelou, Harold Bloom, ed. New York: Infobase Publishing, pp. 121–132. Gillespie, Marcia Ann, Rosa Johnson Butler, and Richard A. Long. (2008). Maya Angelou: A Glorious Celebration. New York: Random House. Hagen, Lyman B. (1997). Heart of a Woman, Mind of a Writer, and Soul of a Poet: A Critical Analysis of the Writings of Maya Angelou. Lanham, Maryland: University Press. Lauret, Maria (1994). Liberating Literature: Feminist Fiction in America. New York: Routledge Press. Long, Richard (2005). "Maya Angelou". Smithsonian 36, (8): pp. 84–85
Lupton, Mary Jane (1998). Maya Angelou: A Critical Companion. Westport, Connecticut: Greenwood Press. McWhorter, John (2002). "Saint Maya." The New Republic 226, (19): pp. 35–41. O'Neale, Sondra (1984). "Reconstruction of the Composite Self: New Images of Black Women in Maya Angelou's Continuing Autobiography", in Black Women Writers (1950–1980): A Critical Evaluation, Mari Evans, ed. Garden City, N. Y: Doubleday. Toppman, Lawrence (1989). "Maya Angelou: The Serene Spirit of a Survivor", in Conversations with Maya Angelou, Jeffrey M. Elliot, ed. Jackson, Mississippi: University Press. Walker, Pierre A. (October 1995). "Racial Protest, Identity, Words, and Form in Maya Angelou's I Know Why the Caged Bird Sings". College Literature 22, (3): pp. 91–108.