I don’t know how much longer I’ll be around. I’ll probably be writing when the Lord says, ‘Maya, Maya Angelou, it’s time.’
I don’t know how much longer I’ll be around. I’ll probably be writing when the Lord says, ‘Maya, Maya Angelou, it’s time.’
I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.
I promised myself that I would write as well as I can, tell the truth, not to tell everything I know, but to make sure that everything I tell is true, as I understand it. And to use the eloquence which my language affords me.
Of course, there are those critics – New York critics as a rule – who say, ‘Well, Maya Angelou has a new book out and of course it’s good but then she’s a natural writer.’ Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
The reserve of modern assertions is sometimes pushed to extremes, in which the fear of being contradicted leads the writer to strip himself of almost all sense and meaning.
With any story I write, I could actually write it from three or four different perspectives, which would end with a completely different moral at the end.
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