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[[Berkas:Angelou_at_Clinton_inauguration.jpg|ka|jmpl|250x250px|Maya Angelou, reciting her poem, "[[On the Pulse of Morning]]", at the [[First inauguration of Bill Clinton|1993 inauguration of President Bill Clinton]]]]
Tema-tema yang diangkat oleh [[penulis]] keturunan [[Afrika-Amerika]], [[Maya Angelou]] dalam [[List of Maya Angelou works#Autobiographies|tujuh autobiografi]] karyanya meliputi rasisme, identitas, keluarga, dan perjalanan. Angelou (1928–2014) dikenal luas melalui autobiografi pertamanya yang mendapatkan pengakuan para kritikus, berjudul ''[[I Know Why the Caged Bird Sings]]'' (1969). Serial lanjutan dari buku tersebut yaitu ''[[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), dan''[[Mom & Me & Mom]]'' (2013).<ref name="protest-93" /><ref name="manora-374" /><ref name="lupton1-1" />
Dimulai dengan ''Caged Bird'' dan diakhir dengan autobiografi terakhir, Angelou menggunakan [[metafora]] seekor burung, yang mewakili kungkungan Angelou akibat perlakuan rasisme dan depresi, perjuangan untuk melepaskan diri dari sangkar, sebagaiman dideskripsikan dalam puisi karya [[Paul Laurence Dunbar]] berjudul ''Sympathy''. Autobiografi karya Angelou dapat ditempatkan dalam tradisi [[African-American literature|sastra Afrika-Amerika]] dalam protes politik. Kesatuan dari buku-buku itu menggarisbawahi satu dari tema sentral yang diangkat Angelou: keadilan rasisme dan bagaimana melawannya. Menurut ilmuwan Pierre A. Walker, semua buku karya Angelou dideskripsikan sebagai "sebuah urutan pelajaran tentang menolak penindasan rasial". Dalam perjalanan otobiografinya, tinjauan tentang hubungan hitam-putih mengubah dan dia belajar untuk menerima perbedaan sudut pandang. Tema tentang identitas telah dikemukakan sejak awal autobiografinya, dengan garis pembuka dalam ''Caged Bird'', dan seperti perempuan penulis lainnya pada akhir [[dasawarsa]] 1960-an dan awal 1970-an, dia menggunakan autobiografi untuk menggambarkan kembali cara untuk menulis tentang kehidupan perempuan dan identitas di tengah masyarakat yang didominasi pria. Tujuan awalnya adalah menulis tentang kehidupan perempuan kaum kulit hitam di [[Amerika Serikat]], tetapi kemudian dilibatkan dalam buku berikutnya, untuk mendokumentasikan pasang dan surutnya kehidupannya.
Tema tentang keluarga dan hubungan keluarga—dari pengalaman mendefinisikan karakter orangtua Angelou yang mengabaikan, dalam buku ''Caged Bird'' sampai kepada hubungannya dengan puteranya, suaminya, kawan-kawan, dan para penggemar—menjadi sangat penting dalam buku-bukunya. Sebagaimana dalam autobiografi di Amerika pada umumnya, dan autobiografi Afrika-Amerika pada khususnya, yang memiliki akar dalam [[Slave narrative|''slave narrative'']], perjalanan merupakan tema penting dalam autobiografi karya Angelou. Akademikus Yolanda M. Manora menyebut bahwa motif perjalanan dalam autobiografi Angelou dimulai dalam buku ''Caged Bird'', "sebuah [[metafor]] sentral untuk sebuah mobilitas fisik".<ref name="manora-374" /> Autobiografi karya Angelou berisi catatan perjalanan di berbagai belahan dunia,<ref name="lupton1-1" /><ref name="songbird" /> dari [[Arkansas]] sampai Afrika dan kembali ke Amerika Serikat, dan kebanyakan membentang selama empat puluh tahun, dimulai sejak [[Perang Dunia II]] sampai dengan peristiwa saat [[Martin Luther King, Jr.]] terbunuh.<ref name="smithsonian" /><ref name="poetry" /><ref>See [[Maya Angelou#Style and genre in autobiographies]].</ref><ref name="difference" /><ref name="lupton1-3839" />
== ReferensiRujukan karya ==
=== Catatan ===
{{reflist|25em|refs=<ref name="arensberg-116">{{cite book | last = Aresnberg | first = Liliane K. | editor = Joanne M. Braxton | title = Maya Angelou's I Know Why the Caged Bird Sings: A Casebook | year = 1999 | publisher = Oxford Press | location = New York | isbn = 978-0-19-511606-9 | chapter = Death as Metaphor for Self | page = 116}}</ref> <ref name="bloom-16">{{cite book | last = Bloom | first = Lynn Z. | editor = Claudia Johnson | title = Racism in Maya Angelou's I Know Why the Caged Bird Sings | year = 2008 |publisher = Gale Press | location = Detroit, Michigan | isbn = 978-0-7377-3905-3 | chapter = The Life of Maya Angelou | page = 16}}</ref> <ref name="burgher-115">{{cite book | last = Burgher | first = Mary | editor = Roseann P. Bell| title = Sturdy Black Bridges | year = 1979 | publisher = Doubleday |location = Garden City, New York | isbn = 978-0-385-13347-0 | page = 115 | chapter = Images of Self and Race in the Autobiographies of Black Women|display-editors=etal}}</ref> <ref name="cudjoe-8">Cudjoe, p. 8.</ref> <ref name="cudjoe-20">Cudjoe, p. 20.</ref> <ref name="cudjoe-21">Cudjoe, p. 21.</ref> <ref name="cudjoe-22">Cudjoe, p. 22.</ref> <ref name="difference">{{cite news | last = Long | first = Richard | title = 35 Who Made a Difference: Maya Angelou | work = Smithsonian Magazine | date = 2005-11-01 |url = http://www.smithsonianmag.com/people-places/10013086.html | accessdate = 2012-03-28}}</ref> <ref name="dunbar">{{cite book | last = Dunbar | first = Paul Laurence | editor = Joanne M. Braxton | title = The Collected Poetry of Paul Laurence Dunbar | publisher = University of Virginia Press | year = 1993 | location = Charlottesville | url = http://www.gutenberg.org/files/18338/18338-h/18338-h.htm | isbn = 978-0-8139-1438-1 | page = 102}}</ref> <ref name="elam">{{Cite journal | last = Elam | first = Patricia | title = A Triumphant Last Song |journal = New Crisis | volume = 109 | issue = 3 | date = May 2002 | page = 49}}</ref> <ref name="gillespie-31">Gillespie et al., p. 31.</ref> <ref name="gillespie-69">Gillespie et al., p. 69.</ref> <ref name="glorious">{{cite news | last = Neary | first = Lynn | title = At 80, Maya Angelou Reflects on a 'Glorious' Life | publisher = NPR | date = 2008-04-06 | url =http://www.npr.org/templates/story/story.php?storyId=89355359 | accessdate = 2012-03-28}}</ref> <ref name="hagen-3">Aldan, Daisy. (1982). "Review of ''The Heart of a Woman'', ''World Literature Today'', 56, 4: 697. Quoted in Hagen, p. 3.</ref> <ref name="hagen103104">Hagen, pp. 103–104.</ref> <ref name="hagen104105">Hagen, pp. 104–105.</ref> <ref name="hagen-4">Hagen, p. 4.</ref> <ref name="hagen-7">Hagen, p. 7.</ref> <ref name="hagen-8">Hagen, p. 8.</ref> <ref name="hagen-58">Hagen, p. 58.</ref> <ref name="hagen-87">Hagen, p. 87.</ref> <ref name="hagen-90">Hagen, p. 90.</ref> <ref name="hagen-92">Hagen, p. 92.</ref> <ref name="hagen-102">Hagen, p. 102.</ref> <ref name="hagen-104">Hagen, p. 104.</ref> <ref name="hagen-108">Hagen, p. 108.</ref> <ref name="hagen-109">Hagen, p. 109.</ref> <ref name="heart-1">{{cite book | last = Angelou | first = Maya | title = The Heart of a Woman | year = 1981 | publisher = Random House | location = New York | isbn = 978-0-553-38009-5 | page = 1}}</ref> <ref name="journey-2">Angelou (1993), p. 2.</ref> <ref name="journey-11">Angelou (1993), p. 11.</ref> <ref name="koyana-38">Koyana, p. 35.</ref> <ref name="koyana-38">Koyana, p. 35.</ref> <ref name="koyana-38">Koyana, p. 35.</ref> <ref name="koyana-38">Koyana, p. 35.</ref> <ref name="koyana-42">Koyana, p. 42.</ref> <ref name="lauret-97">Lauret, p. 97.</ref> <ref name="lauret-98">Lauret, p. 98.</ref> <ref name="lupton1-3839">Lupton, pp. 38–39.</ref> <ref name="lupton1-99100">Lupton, pp. 99–100.</ref> <ref name="lupton1-118119">Lupton, pp. 118–119.</ref> <ref name="lupton1-128129">Lupton, pp. 128–129.</ref> <ref name="lupton1-15657">Lupton, pp. 157–158.</ref> <ref name="lupton1-1">Lupton, p. 1.</ref> <ref name="lupton1-11">Lupton, p. 11.</ref> <ref name="lupton1-32">Lupton, p. 32.</ref> <ref name="lupton1-20">Lupton, p. 20.</ref> <ref name="lupton1-49">Lupton, p. 49.</ref> <ref name="lupton1-99">Lupton, p. 99.</ref> <ref name="lupton1-119">Lupton, p. 119.</ref> <ref name="lupton1-121">Lupton, p. 121.</ref> <ref name="lupton1-127">Lupton, p. 127.</ref> <ref name="lupton1-139">Lupton, p. 139.</ref> <ref name="lupton1-140">Lupton, p. 140.</ref> <ref name="lupton1-145">Lupton, p. 145.</ref> <ref name="lupton1-152">Lupton, p. 152.</ref> <ref name="lupton1-154">Lupton, p. 154.</ref> <ref name="lupton1-155">Lupton, p. 155.</ref> <ref name="lupton1-156">Lupton, p. 156.</ref> <ref name="lupton1-163">Lupton, p. 163.</ref> <ref name="lupton2-131">{{cite book | last = Lupton | first = Mary Jane | editor = Joanne M. Braxton | title = Maya Angelou's I Know Why the Caged Bird Sings: A Casebook| year = 1989 | publisher = Oxford Press | location = New York | isbn = 978-0-19-511606-9 | chapter = Singing the Black Mother | page = 131}}</ref> <ref name="manora-359">Manora, p. 359.</ref> <ref name="manora-367">Manora, p. 367.</ref> <ref name="manora-373">Manora, p. 373.</ref> <ref name="manora-374">Manora, p. 374.</ref> <ref name="martinson-1">{{Cite episode | title = All God's Children Need Traveling Shoes, Part 1 | url = https://www.youtube.com/watch?v=j1vrWy1ae74 | series = Connie Martinson Talks Books}}</ref> <ref name="martinson-2">{{Cite episode | title = All God's Children Need Traveling Shoes, Part 2 |url = https://www.youtube.com/watch?v=y1riWxmaWus&feature=related |series = Connie Martinson Talks Books}}</ref> <ref name="mcpherson-14">McPherson, p. 14.</ref> <ref name="mcpherson-38">McPherson, p. 38.</ref> <ref name="mcpherson-81">McPherson, p. 81.</ref> <ref name="mcpherson-82">McPherson, p. 82.</ref> <ref name="mcpherson-84">McPherson, p. 84.</ref> <ref name="mcpherson-85">McPherson, p. 85.</ref> <ref name="mcpherson-91">McPherson, p. 91.</ref> <ref name="mcpherson-92">McPherson, p. 92.</ref> <ref name="mcpherson-93">McPherson, p. 93.</ref> <ref name="mcpherson-104">McPherson, p. 104.</ref> <ref name="mcpherson-120">McPherson, p. 120.</ref> <ref name="mcpherson-121">McPherson, p. 121.</ref> <ref name="mcpherson-133">McPherson, p. 13.3</ref> <ref name="oneale-26">{{cite book | last = O'Neale | first = Sondra | editor = Mari Evans | title = Black Women Writers (1950–1980): A Critical Evaluation | year = 1984 |publisher = Doubleday | location = Garden City, New York | isbn = 978-0-385-17124-3 | chapter = Reconstruction of the Composite Self: New Images of Black Women in Maya Angelou's Continuing Autobiography | page = 26}}</ref> <ref name="plimpton">{{cite journal | last = Plimpton | first = George | title = Maya Angelou, The Art of Fiction No. 119 | journal = The Paris Review | issue = 116 | date = Fall 1990 | url =http://www.theparisreview.org/interviews/2279/the-art-of-fiction-no-119-maya-angelou|accessdate = 2012-03-28}}</ref> <ref name="poetry">{{cite web | url =http://www.poetryfoundation.org/archive/poet.html?id=180 | title = Maya Angelou |publisher = Poetry Foundation | accessdate = 2012-03-28}}</ref> <ref name="protest-93">{{cite journal | last = Walker | first = Pierre A. | title = Racial Protest, Identity, Words, and Form in Maya Angelou's I Know Why the Caged Bird Sings | journal = College Literature | volume = 22 | issue = 3 | page = 93|date=October 1995}}</ref> <ref name="smithsonian">{{cite web | last = Moore | first = Lucinda | title = A Conversation with Maya Angelou at 75 | publisher = Smithsonian.com | date = 2003-04-01| url = http://www.smithsonianmag.com/arts-culture/angelou.html?page=1 | accessdate = 2012-03-27}}</ref> <ref name="songbird">{{cite news | last = Als | first = Hilton | title = Songbird: Maya Angelou Takes Another Look at Herself | work = The New Yorker | url =http://www.newyorker.com/archive/2002/08/05/020805crbo_books?currentPage=all |accessdate = 2012-03-28}}</ref> <ref name="traveling-208">{{cite book | last = Angelou | first = Maya | title = All God's Children Need Traveling Shoes | year = 1986 | publisher = Random House |location = New York | isbn = 978-0-679-73404-8 | page = 208}}</ref>}}
=== Rujukan karya ===
* Angelou, Maya (1993). ''Wouldn't Take Nothing for My Journey Now''. New York: Random House. ISBN 978-0-394-22363-6
* Cudjoe, Selwyn (1984). "Maya Angelou and the Autobiographical Statement". In ''Black Women Writers (1950–1980): A Critical Evaluation'', Mari Evans, ed. Garden City, N.Y: Doubleday. ISBN 978-0-385-17124-3
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