"But the mother-son relationship is touchingly explored, the fire of the times is rekindled with eloquence, and Maya herself—brandishing a pistol to defend her son or wrassling with Vus in the Waldorf Astoria lobby—remains funny, tough, and vulnerable as she keeps on surprising herself with what she can do: a great lady moving right on through a great memoir."
Another installment in Angelou's remarkable autobiography—beginning with would-be singer Maya in 1957 California: trying commune life; moving to L.A. with teenage son Guy; playing uneasy hostess to dying Billie Holliday—a "lonely sick woman, with a waterfront mouth" who both cursed and lullabied Guy . . . and interrupted Maya's nightclub act with a mini-review ("Stop that bitch.
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