Racial protest, identity, words, and form in Maya Angelou's I Know Why the Caged Bird Sings

Whereas the "powhitetrash" and Mrs. Cullinan chapters ended on a note of victory, this chapter ends on one that rings more of defeat. This is because the book moves through the three strategies for responding to white racist oppression--helpless indignation, subtle resistance, and active protest--and at this point is preparing the transition from the limited victories of subtle resistance to the outright victory of active protest.

The next chapter, the nineteenth, which describes the community at the store listening to a Joe Louis match, follows the same pattern as the revival chapter. Louis's victory provides his fans a stirring moment of racial pride and exaltation: "Champion of the world. A Black boy. Some Black mother's son. He was the strongest man in the world. People drank Coca-Colas like ambrosia and ate candy bars like Christmas" (114). But while Louis's victory allows his black fans to feel themselves stronger and superior to their white oppressors, there are limits to how far the black community can rejoice in its superiority. The chapter ends by mentioning that those who lived far out of town spent the night with friends in town because, "It wouldn't do for a Black man and his family to be caught on a lonely country road on a night when Joe Louis had proved that we were the strongest people in the world" (115).

Because chapters eighteen and nineteen explore the limits to subtle, but passive, resistance, the book has to go on to present other possible ways of responding to white oppression. The climactic response, one that consists of active resistance and outright protest, is Maya's persisting and breaking the color line of the San Francisco street-car company, described in the thirty-fourth chapter. Since Caged Bird was written in the late sixties, at the height of the black power movement, and at a time that was still debating the value of Martin Luther King's belief in non-violent protest, it is no surprise that this act of protest is the climactic moment of resistance to white oppression in the book, a moment that says: Momma's type of resistance was fine in its time and place, but now it is time for some real action.(14) There are at least three other episodes in the second half of Caged Bird, however, which explore the line between subtle but passive resistance and active, open protest: the graduation scene (chapter twenty-three), the dentist scene (chapter twenty-four), and the story Daddy Clidell's friend, Red Leg, tells of double-crossing a white con man (chapter twenty-nine).

Falling as they do between the Joe Louis chapter and the San Francisco street-car company chapter, these three episodes chart the transition from subtle resistance to active protest. The graduation scene for the most part follows the early, entirely positive examples of subtle resistance in Caged Bird. The only difference is that the resistance is no longer so subtle and that it specifically takes the form of poetry, which in itself valorizes the African-American literary tradition as a source for resisting white racist oppression. Otherwise, the graduation chapter conforms to the pattern established by the "powhitetrash" and Mrs. Cullinan chapters: first, there is the insult by the white person, when the speaker tells the black audience of all the improvements which the white school will receive--improvements that far surpass the few scheduled for the black school (151). There is Maya's first response of humiliation and anger: "Then I wished that Gabriel Prosser and Nat Turner had killed all whitefolks in their beds" (152), shared now by the community: "