And the book community realized that we have not only an opportunity, but a responsibility to engage the American public in a conversation about the First Amendment as it relates to books and literature. A coalition was formed immediately with the authors, publishers, and major distribution centers (bookstores and libraries) in the U.S. The display generated a lot of press attention. Doyle, vice-president of the Freedom to Read Foundation, revealed that the ALA was inspired to launch Banned Books Week in 1982, when the American Booksellers Association displayed I Know Why the Caged Bird Sings and other works in a cage outside the entrance to their annual conference: She publicly explored her most personal experience without apology or shame. Afraid of reinforcing these stereotypes, few were willing to write about their sexuality at all but Angelou refused to be constrained. For centuries Black women writers have been limited by stereotypes characterizing them as hypersexual. Her autobiography was one of the first to speak openly about child sexual abuse and especially groundbreaking to do so from the perspective of the abused child. above, points out how radical Angelou’s I Know Why The Caged Bird Sings was for a work of its time: Mollie Godfrey’s TED-Ed lesson, animated by Laura White. New African listed some of the verbatim objections that have been leveled against I Know Why the Caged Bird Sings– that it encouraged “profanity”, was filled with “descriptions of drug abuse, sexually explicit conduct and torture”, preached “bitterness and hatred against whites”, was “likely to corrupt minors” and contained “inappropriately explicit sexual scenes.”Īngelou, who accused the book’s detractors of not reading more than two words of it, bridled that anyone would “act as if their children are not faced with the same threats.”
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