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Maya AngelouA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Over the phone, Angelou senses her mother’s voice is weak. Vivian admits she is sick but seeing a doctor. She is also working a shift as a personal nurse for a white woman. Angelou visits Vivian, and she tells her daughter not to worry. Still, she wants to settle her property and expects a visit from Bailey. As for Vivian’s patient, she has memory loss and thinks Vivian is her sister. Angelou is amazed by the Matisse paintings on the wall, and the woman, despite her memory loss, remembers the pieces. Vivian explains that her patient is the widow of Gertrude Stein’s brother, Leo Stein. Mrs. Stein offers artwork to her employees, which Vivian characterizes as “the expression of intelligence and love” (160).
Angelou is in Stockholm at the film production of one of her screenplays; she also wrote music for the film. The story is about an African American nightclub singer. Angelou wanted to meet the film crew and Swedish director. She visits the set daily to braid the lead actress’s hair. She develops an ambition to become a film director—however, the lead actress demands that she leave the set. Days later, an actor decides to leave. Angelou explains that his departure will hurt the production and that it is the first major production of a screenplay by a Black woman. She falls on her knees and begs the man to stay. The man dismisses her, and she decides to become her mother: Angelou threatens to remove his role, so he stays.
Angelou calls Vivian and says she needs “mothering,” asking her to come to Stockholm. She meets Vivian at the airport, and they go to a bar. Vivian encourages her to continue working, as those who treat her badly will come to her in the end. Angelou struggles daily, but her mother’s presence sustains her. Vivian regularly invites some of Angelou’s castmates for dinner, and everyone loves her. The crew starts changing their behavior around Angelou, and the director invites her to remain on set. She understands this change is due to her mother and realizes a mother’s role is to “[stand] between the unknown and the known” (170). Vivian reiterates that Angelou is “[her] own woman” (170). After filming is completed, Angelou invites her mother to travel. They spend time in Paris and London before flying back to New York.
Angelou notes that her mother’s courage has become part of her own psyche. She travels to Africa with her son and lives with a South African freedom fighter for a while. Vivian is prepared to visit Africa whenever her daughter needs her. Angelou eventually accepts a position as a professor of American studies at Wake Forest University. Realizing she is inherently a teacher, she decides to accept the role for life.
Vivian is now 74 and lives in California with her fourth husband, who is recovering from a stroke. Angelou states that he is her favorite stepfather. One day, Vivian calls her about her stepfather’s sexual issues, as he fears for his health. She asks Angelou to speak to him. Angelou makes a nervous phone call to her stepfather, and the next day, Vivian thanks her.
Angelou notes that her mother died four years later. She still wants to be like her, and Bailey remains “lonely […] for her presence” (182). He struggled with drug addiction and left the Navy. Once, Angelou found him in an infamous neighborhood, but he told her not to worry. Later, Bailey married a woman who resembled Vivian and recovered from addiction; however, she suddenly died. Bailey was devastated and returned to drugs. Angelou notes that he disappointed Vivian, who believed that since the siblings’ father was absent, she would “guide [Bailey’s] manhood”—but Angelou offered to assume the role of guide (186).
Vivian is in the hospital, and Angelou rushes to her side. She has lung cancer, and the doctors estimate three months of life. Angelou decides to take her home. Vivian continues with radiology therapy and improves. Mother and daughter laugh together, and Angelou notes Vivian “[chose] to be better” (191). Angelou leaves for work, and her aunt takes care of Vivian. Vivian tells her to have a good time and return soon, saying, “[Mother] needs you” (192).
Angelou is invited by Exeter University in England to teach for three weeks. She refuses because of her mother’s illness. However, Vivian insists she goes. Upon Angelou’s return, Vivian is in a coma in the hospital. Angelou hires three nurses. Days later, she speaks to her mother, holding her hand. She praises her hard work, saying she helped many women and that many people love her. Angelou admits Vivian was not a great mother for children but was the greatest mother for young adults. Vivian squeezes her hand, and Angelou kisses her and goes home.
Angelou drives back to the hospital at dawn, and a nurse informs her that Vivian just died. Angelou notes that her mother “deserved a daughter who loved her and had a good memory, and she got one” (197).
In the final part of the novel, Angelou details the later stage of her relationship with her mother. Vivian grows old and physically weaker but never loses her spirit and continues working as a personal nurse. Art as a motif surfaces through Vivian’s patient, who has memory loss. Angelou realizes the power of art, as the woman remembers every artist from her collection of paintings, even though she has forgotten much of her own life. Thus, she frames art as an essential part of existence. As for her own creative career, she works as a screenwriter and struggles to command respect on the film set, as the lead actress and director do not want her there. The theme of The Liberatory Bond Between Mother and Daughter is evident as Angelou calls Vivian for support. Vivian rushes to her side and reaffirms her role as a mother. Angelou regains her confidence with her mother’s presence, as Vivian endears herself to Angelou’s colleagues and gains their favor. Her warmth shows people Angelou’s value as a person. For Angelou, a mother “stands between the known and the unknown” as both protector and guide (170). Even when Angelou moves to Africa, Vivian assures her that she can always come to her. Knowing her mother supports her helps Angelou enjoy life to its fullest.
Despite Bailey being attached to his mother as a child, his older self never forgave her. His childhood trauma was never properly addressed, manifesting as drug addiction and attraction to a woman who resembled Vivian. Angelou tried to help him work through his addiction, but he refused. Both she and Vivian note Bailey’s hurt from his mother’s abandonment and father’s absence. Vivian tried to “guide his manhood” in a positive way, but she could not fully assume the role of father (186). This fear plagues Angelou as she raises Guy, but the novel frames a mother’s mental health as equally important as their child’s—as an unhappy, unprepared mother is not in a place to help their child. In other words, both women know one’s life is ultimately one’s responsibility. Likewise, as Vivian dies of lung cancer, she encourages Angelou to live her own life. Before her death, her condition briefly improves under her daughter’s care. When Angelou returns home, she recognizes her mother’s flaws and hard work: “You were a terrible mother of small children, but there has never been anyone greater than you as a mother of a young adult” (196). She declares her love for her mother one last time, as her sense of self has been forever changed by her.
By Maya Angelou
Coming-of-Age Journeys
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Daughters & Sons
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Family
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Forgiveness
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Guilt
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Inspiring Biographies
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Memoir
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Mothers
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The Best of "Best Book" Lists
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Valentine's Day Reads: The Theme of Love
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Women's Studies
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