For example, in her article Arensberg (1976) refers to the subtleties of how Maya went about attaining existential identity as such that have been in the state of constant transition: “The unsettled life Angelou writes of in suggests a sense of self as perpetually in the process of becoming, of dying and being reborn, in all its ramifications” (277).
In its turn, this implies that Maya’s perception of herself never ceased being the subject of continuous transformation.
in 1969, literary critics never ceased pointing out to the fact that novel’s themes and motifs are being concerned with the process of a main character striving to attain the sense of self-identity.
Nevertheless, this did not prevent them from discussing the qualitative essence of this process from a variety of different perspectives.
Flowers, Maya started to realize that her blackness was not something to be ashamed of.
In its turn, this facilitated the process of novel’s main character learning how to accept her racially defined sense of self-identity even further. And, as it appears from what happened to be Maya’s emotional reaction to Mrs.
On the other hand, while suggesting that Maya did succeed with gaining solid sense existential self-awareness, Walker (1995) refers to it as something that came to being as the result of novel main character’s spatially defined intellectual evolvement: “By the end of the book…
she [Maya] no longer feels inferior, knows who she is, and knows that she can respond to racism in ways that preserve her dignity and her life, liberty, and property” (103).
Plenty pretty women I seen digging ditches or worse. I swear to God, I rather you have a good mind than a cute behind” (68).
It is needless to mention, of course, that such uncle Tommy’s remark did help Maya to accept who she was.