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| Editor's Note | p. vii |
| Introduction | p. 1 |
| The Song of a Caged Bird: Maya Angelou's Quest After Self-Acceptance | p. 3 |
| Maya Angelou's I Know Why the Caged Bird Sings and Black Autobiographical Tradition | p. 15 |
| Role-Playing as Art in Maya Angelou's """"Caged Bird"""" | p. 25 |
| Death as a Metaphor of Self in I Know Why the Caged Bird Sings | p. 31 |
| The Daughter's Seduction: Sexual Violence and Literary History | p. 47 |
| Call and Response: Intertextuality in Two Autobiographical Works by Richard Wright and Maya Angelou | p. 69 |
| Maya Angelou's I Know Why the Caged Bird Sings: Paths to Escape | p. 81 |
| A Song of Transcendence: Maya Angelou | p. 93 |
| Con Artists and Storytellers: Maya Angelou's Problematic Sense of Audience | p. 111 |
| Someplace to Be a Black Girl | p. 141 |
| Reembodying the Self: Representations of Rape in Incidents in the Life of a Slave Girl and I Know Why the Caged Bird Sings | p. 153 |
| Maya Angelou is Three Writers: I Know Why the Caged Bird Sings | p. 167 |
| Learning to Live: When the Bird Breaks from the Cage | p. 173 |
| Chronology | p. 181 |
| Contributors | p. 185 |
| Bibliography | p. 187 |
| Acknowledgments | p. 189 |
| Index | p. 191 |
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