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Maya Angelou是美国文坛最耀眼的黑人女作家和诗人。1993年她在美国前总统Bill Clinton的就职仪式上特邀朗诵献诗《On the Pulse of the Morning》，从而成为美国历史上继Robert Frost之后的官方诗人。《Still I Rise》是她的诗歌代表作，是继Martin Luther King的《I Have a Dream》之后美国黑人争取民权的又一纪念碑式的作品。她出版过10部畅销书，同时是美国知名的演员、导演、制片人和影视剧作家，是好莱坞第一位黑人女导演。
Maya Angelou曾在回忆录中提到自己不为人知的往事，生于长于种族隔离深重的年代，她没有被困境压倒，而是自立自强自勉，她是非裔美国人社区的明星，激励和鼓舞了成千上万的人们。2014年5月28日，多年饱受疾病折磨的Maya Angelou逝世，但她的经历和作品将永留人世，成为敬爱她的人们手中宝贵的财富。
David Greene （Host）： Some sad news this morning， Maya Angelou has died at the age of 86. She was a poet， a performer and a political activist. She was born in St. Louis in 1928， and grew up in a 1）segregated society that she worked so passionately to change during the civil rights era. The book that put Angelou on the literary stage was “I Know Why The Caged Bird Sings，”which revealed scars from her past. It was the first of a series of memoirs.
Maya Angelou went on to become an iconic figure in American culture. NPR’s Lynn Neary looks back on her life. Lynn Neary （Byline）： Growing up in St. Louis， Mo.， and Stamps， Ark.， she was Marguerite Johnson. It was her brother who first called her Maya， and the name stuck. Later she added the Angelou， a version of her first husband’s name.
Maya Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of “Porgy and Bess，” studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”
（Soundbite of song， “Peas and Rice”）
Neary： Angelou recalled those days in an interview with NPR.
（Soundbite of archived broadcast）
Maya Angelo： See， I was known as Miss Calypso. And when I’d forget the lyric， I’d just tell the audience—I seem to have forgotten the lyric. I will now dance—and I would move around a bit.
Patrik Henry Bass： You just， you just sort of imagine her in Paris， you know， in any era—like in the ’20s or the ’40s. I mean， she really believed that life was a 2）banquet.
Neary： Patrik Henry Bass is an editor at Essence Magazine. When he first read Angelou’s memoir， “I Know Why The Caged Bird Sings，” he saw 3）parallels in his own life in a small town in North Carolina.
Everyone in the African-American community looked up to her， he says. She was a 4）celebrity， but she was one of them. He remembers seeing her on television and hearing her speak. Bass： When we think of her， we often think about her books， of course， and her poems. But in the African-American community， certainly， we heard so much of her work recited， so you…I think about her voice. You would hear that voice， and that voice would capture a humanity， and it would—that voice would calm you in so many ways through some of the most significant challenges.
Angelou： You may write me down in history with your bitter， twisted lies. You may 5）tread me in the very dirt but still， like dust， I’ll rise. Does my 6）sassiness upset you？ Why are you 7）beset with 8）gloom？ Just ’cause I walk as if I have oil wells pumping in my living room. Just like suns and like moons， with the certainty of tides， just like hopes springing high， still I rise.
Neary： Film director John Singleton grew up in a very different part of the country. But he remembers the effect that poem had on him as a kid.
John Singleton： I come from South Central Los Angeles， a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down—including some of our own. And so that poem， “I Still Rise，”[sic] it pumps me up. You know， it’s like， it’s something that just makes me feel better about myself， or at least made me feel better about myself when I was young.
Neary： Singleton used the poems of Maya Angelou in his 1993 film， “Poetic Justice.” Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a 9）griot—a traditional African storyteller.
Singleton： And we all have that one or two people in our， in our families that just can spin a yarn， that， you know， that has a whole lot to say， and holds a lot of wisdom from walking through the world and experiencing different things. And that’s the way I see Dr. Maya Angelou. I mean， she was a 10）contemporary of Martin Luther King， a contemporary of Malcolm X and Oprah Winfrey. So she 11）transcends so many different generations of African-American culture that have， have affected all of us.
Joanne Braxton： She changed our culture.
Neary： Joanne Braxton is a professor at the College of William and Mary in Virginia. Braxton says Angelou’s willingness to reveal the sexual abuse she suffered as a child in her memoir， “I Know Why The Caged Bird Sings” was 12）unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and women writers.
Braxton： Maya Angelou brought about a 13）paradigm shift in American literature and culture so that the works， and the gifts， the talents of women writers， including women writers of color， could be brought to the 14）foreground and appreciated. She created an audience by her 15）stunning example. Neary： For Braxton， the world will never be quite the same without Maya Angelou.
Braxton： I love her. She’s beloved by many， including many， many people who have never met her in person and who will never meet her in person. But she has extended herself that way so that her touch extends beyond her physical embrace. That is truly a gift， and we are truly blessed to have known her through her presence and her work.
Neary： Angelou once said she believed that life loves the liver of it， and she did live it， to the fullest.
大卫·格林（主持人）：今早（译者注：这里指2014年5月28日）传来噩耗，玛雅·安杰洛去世，享年86岁。她是一名诗人、表演家和政治活动家。1928年出生于圣路易斯，在种族隔离深重的社会里成长，在民权运动时期激昂致力于改变这一状况。使安杰洛登上文学舞台的著作《我知道笼中之鸟为何歌唱》，将她过往伤痕一展无遗。这是她一系列回忆录的第一部。
玛雅·安杰洛紧接着成为了美国文化偶像式的人物。全国公共广播电台（记者）林恩·尼瑞（将引领我们）回顾她的一生。
林恩·尼瑞（记者）：在密苏里州的圣路易斯和阿肯色州的斯坦普斯长大，她叫玛格丽特·约翰逊。她的哥哥首先称她为玛雅，这一名字也流传至今。后来她加上了安杰洛，这是她第一任丈夫的姓。
玛雅·安杰洛的童年困境重重，又经历了阿肯色州严重的种族隔离，之后她开始了舞者和歌手的职业生涯。20世纪50年代，她在欧洲巡演（歌剧）《波吉与贝丝》，师从（舞蹈家）玛莎·葛兰姆学习舞蹈，跟随埃尔文·艾利（黑人舞蹈团）在电视节目上表演。1957年，她录制了一张名为《卡利普索女郎》的专辑。
（歌曲《豌豆与大米》片段）
尼瑞：安杰洛曾在全国公共广播电台的一次采访中回忆了那段时光。（广播片段）
玛雅·安杰洛：看吧，我因卡利普索小姐而成名，当我忘记歌词的时候，我就告诉观众们——似乎我忘记歌词了，我现在要跳舞了——然后我就跳上一段。
帕特里克·亨利·巴斯：你只是想象在巴黎的她，你知道的，在任何时代，比如20世纪20年代或40年代。我是说，她真的相信生活就是一场宴会。
尼瑞：帕特里克·亨利·巴斯是《本质》杂志的编辑。当他第一次读安杰洛的回忆录《我知道笼中之鸟为何歌唱》时，他就看到自己在北卡罗来纳州一个小镇生活的缩影。
在非裔美国人社区，人人都尊敬她，巴斯说。她是一位名人，但是也是他们普罗大众中的一员。他回忆起在电视上看到她，并听她说话。
巴斯：当我们想起她时，通常会想起她的书，当然，还有她的诗。但在非裔美国人社区，我们当然听得更多的是朗诵她的作品，所以你……我会想念她的声音。你可以听听她的声音，那是能够俘获人心的声音，也能——那声音能使你在面对一些意义重大的挑战时静下来。
安杰洛：你可以把我写进历史，用你那尖刻的、撒谎的文字，你可以把我踩进泥地，但就像尘土般，我仍将奋起。我的精神抖擞可让你烦恼？为什么你要皱着眉头？因为我步履矫健，像在自家挖出了石油。像太阳，像月亮，浪潮退却亦复涨，扬得高高像希望，我仍将奋起。（译者注：这是安杰洛在朗诵所著诗歌《我仍将奋起》）
尼瑞：电影导演约翰·辛格顿成长在这个国家很不一样的一个地区，但是他记得孩童时那首诗对他产生的影响。
约翰·辛格顿：我来自洛杉矶中南部，在那儿我们学会挺起胸膛使自己变得更加强大，因为有很多势力想要将我们击垮，也包括我们自身的一些因素。而那首诗《我仍将奋起》，使我勇气倍增。你知道的，它让我自我感觉更好，至少让年轻时的我自我感觉更好。
尼瑞：辛格顿在他1993年的电影《因果循环》中引用了玛雅·安杰洛的诗。安杰洛也在电影中有小部分演出。辛格顿说他觉得安杰洛是一个格里奥——非洲传统中的讲故事者。
辛格顿：在我们家族里还有一两个人能够讲故事，你知道的，讲各种各样的故事，从周游世界和经历不同奇遇中积累智慧。那就是我看到的玛雅·安杰洛博士所做的事。她是与（美国黑人运动领袖）马丁·路德·金同时代的人，也是与（黑人运动领袖）马尔科姆·利特尔还有（著名脱口秀主持人）奥普拉·温弗瑞同时代的人。因此她跨越了非裔美国文化不同的一代又一代，影响了我们所有的人。
琼安娜·布莱斯顿：她改变了我们的文化。
尼瑞：琼安娜·布莱斯顿是弗吉尼亚州威廉玛丽学院的教授。布莱斯顿说，安杰洛在她的回忆录《我知道笼中之鸟为何歌唱》中自愿揭露了童年时期遭受过性虐待，这在当时是空前的。此书好评如潮和强大的读者群同时为非裔美国作家和女性作家打开了一扇门。
布莱斯顿：玛雅·安杰洛引发了美国文学和文化界的典范转移，使得女性作家包括有色人种女性作家的作品、天赋和才华能受到关注，获得欣赏。她以其极富魅力的典范赢得了一众追随者。
尼瑞：对布莱斯顿来说，没有了玛雅·安杰洛的世界变得不一样了。
布莱斯顿：我爱她。许多人都爱她，包括许许多多从未见过她本人的和永远不会再见到她本人的人们。但是她以那样的方式伸出双臂拥抱我们，这超越了身体上的接触。那真是一份礼物，我们真心有幸通过她和她的作品认识了她。
尼瑞：安杰洛曾说过她相信生活喜欢热爱它的人们，她热爱生活，全身心地去爱。
Maya Angelou曾在回忆录中提到自己不为人知的往事，生于长于种族隔离深重的年代，她没有被困境压倒，而是自立自强自勉，她是非裔美国人社区的明星，激励和鼓舞了成千上万的人们。2014年5月28日，多年饱受疾病折磨的Maya Angelou逝世，但她的经历和作品将永留人世，成为敬爱她的人们手中宝贵的财富。
David Greene （Host）： Some sad news this morning， Maya Angelou has died at the age of 86. She was a poet， a performer and a political activist. She was born in St. Louis in 1928， and grew up in a 1）segregated society that she worked so passionately to change during the civil rights era. The book that put Angelou on the literary stage was “I Know Why The Caged Bird Sings，”which revealed scars from her past. It was the first of a series of memoirs.
Maya Angelou went on to become an iconic figure in American culture. NPR’s Lynn Neary looks back on her life. Lynn Neary （Byline）： Growing up in St. Louis， Mo.， and Stamps， Ark.， she was Marguerite Johnson. It was her brother who first called her Maya， and the name stuck. Later she added the Angelou， a version of her first husband’s name.
Maya Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of “Porgy and Bess，” studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”
（Soundbite of song， “Peas and Rice”）
Neary： Angelou recalled those days in an interview with NPR.
（Soundbite of archived broadcast）
Maya Angelo： See， I was known as Miss Calypso. And when I’d forget the lyric， I’d just tell the audience—I seem to have forgotten the lyric. I will now dance—and I would move around a bit.
Patrik Henry Bass： You just， you just sort of imagine her in Paris， you know， in any era—like in the ’20s or the ’40s. I mean， she really believed that life was a 2）banquet.
Neary： Patrik Henry Bass is an editor at Essence Magazine. When he first read Angelou’s memoir， “I Know Why The Caged Bird Sings，” he saw 3）parallels in his own life in a small town in North Carolina.
Everyone in the African-American community looked up to her， he says. She was a 4）celebrity， but she was one of them. He remembers seeing her on television and hearing her speak. Bass： When we think of her， we often think about her books， of course， and her poems. But in the African-American community， certainly， we heard so much of her work recited， so you…I think about her voice. You would hear that voice， and that voice would capture a humanity， and it would—that voice would calm you in so many ways through some of the most significant challenges.
Angelou： You may write me down in history with your bitter， twisted lies. You may 5）tread me in the very dirt but still， like dust， I’ll rise. Does my 6）sassiness upset you？ Why are you 7）beset with 8）gloom？ Just ’cause I walk as if I have oil wells pumping in my living room. Just like suns and like moons， with the certainty of tides， just like hopes springing high， still I rise.
Neary： Film director John Singleton grew up in a very different part of the country. But he remembers the effect that poem had on him as a kid.
John Singleton： I come from South Central Los Angeles， a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down—including some of our own. And so that poem， “I Still Rise，”[sic] it pumps me up. You know， it’s like， it’s something that just makes me feel better about myself， or at least made me feel better about myself when I was young.
Neary： Singleton used the poems of Maya Angelou in his 1993 film， “Poetic Justice.” Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a 9）griot—a traditional African storyteller.
Singleton： And we all have that one or two people in our， in our families that just can spin a yarn， that， you know， that has a whole lot to say， and holds a lot of wisdom from walking through the world and experiencing different things. And that’s the way I see Dr. Maya Angelou. I mean， she was a 10）contemporary of Martin Luther King， a contemporary of Malcolm X and Oprah Winfrey. So she 11）transcends so many different generations of African-American culture that have， have affected all of us.
Joanne Braxton： She changed our culture.
Neary： Joanne Braxton is a professor at the College of William and Mary in Virginia. Braxton says Angelou’s willingness to reveal the sexual abuse she suffered as a child in her memoir， “I Know Why The Caged Bird Sings” was 12）unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and women writers.
Braxton： Maya Angelou brought about a 13）paradigm shift in American literature and culture so that the works， and the gifts， the talents of women writers， including women writers of color， could be brought to the 14）foreground and appreciated. She created an audience by her 15）stunning example. Neary： For Braxton， the world will never be quite the same without Maya Angelou.
Braxton： I love her. She’s beloved by many， including many， many people who have never met her in person and who will never meet her in person. But she has extended herself that way so that her touch extends beyond her physical embrace. That is truly a gift， and we are truly blessed to have known her through her presence and her work.
Neary： Angelou once said she believed that life loves the liver of it， and she did live it， to the fullest.
大卫·格林（主持人）：今早（译者注：这里指2014年5月28日）传来噩耗，玛雅·安杰洛去世，享年86岁。她是一名诗人、表演家和政治活动家。1928年出生于圣路易斯，在种族隔离深重的社会里成长，在民权运动时期激昂致力于改变这一状况。使安杰洛登上文学舞台的著作《我知道笼中之鸟为何歌唱》，将她过往伤痕一展无遗。这是她一系列回忆录的第一部。
玛雅·安杰洛紧接着成为了美国文化偶像式的人物。全国公共广播电台（记者）林恩·尼瑞（将引领我们）回顾她的一生。
林恩·尼瑞（记者）：在密苏里州的圣路易斯和阿肯色州的斯坦普斯长大，她叫玛格丽特·约翰逊。她的哥哥首先称她为玛雅，这一名字也流传至今。后来她加上了安杰洛，这是她第一任丈夫的姓。
玛雅·安杰洛的童年困境重重，又经历了阿肯色州严重的种族隔离，之后她开始了舞者和歌手的职业生涯。20世纪50年代，她在欧洲巡演（歌剧）《波吉与贝丝》，师从（舞蹈家）玛莎·葛兰姆学习舞蹈，跟随埃尔文·艾利（黑人舞蹈团）在电视节目上表演。1957年，她录制了一张名为《卡利普索女郎》的专辑。
（歌曲《豌豆与大米》片段）
尼瑞：安杰洛曾在全国公共广播电台的一次采访中回忆了那段时光。（广播片段）
玛雅·安杰洛：看吧，我因卡利普索小姐而成名，当我忘记歌词的时候，我就告诉观众们——似乎我忘记歌词了，我现在要跳舞了——然后我就跳上一段。
帕特里克·亨利·巴斯：你只是想象在巴黎的她，你知道的，在任何时代，比如20世纪20年代或40年代。我是说，她真的相信生活就是一场宴会。
尼瑞：帕特里克·亨利·巴斯是《本质》杂志的编辑。当他第一次读安杰洛的回忆录《我知道笼中之鸟为何歌唱》时，他就看到自己在北卡罗来纳州一个小镇生活的缩影。
在非裔美国人社区，人人都尊敬她，巴斯说。她是一位名人，但是也是他们普罗大众中的一员。他回忆起在电视上看到她，并听她说话。
巴斯：当我们想起她时，通常会想起她的书，当然，还有她的诗。但在非裔美国人社区，我们当然听得更多的是朗诵她的作品，所以你……我会想念她的声音。你可以听听她的声音，那是能够俘获人心的声音，也能——那声音能使你在面对一些意义重大的挑战时静下来。
安杰洛：你可以把我写进历史，用你那尖刻的、撒谎的文字，你可以把我踩进泥地，但就像尘土般，我仍将奋起。我的精神抖擞可让你烦恼？为什么你要皱着眉头？因为我步履矫健，像在自家挖出了石油。像太阳，像月亮，浪潮退却亦复涨，扬得高高像希望，我仍将奋起。（译者注：这是安杰洛在朗诵所著诗歌《我仍将奋起》）
尼瑞：电影导演约翰·辛格顿成长在这个国家很不一样的一个地区，但是他记得孩童时那首诗对他产生的影响。
约翰·辛格顿：我来自洛杉矶中南部，在那儿我们学会挺起胸膛使自己变得更加强大，因为有很多势力想要将我们击垮，也包括我们自身的一些因素。而那首诗《我仍将奋起》，使我勇气倍增。你知道的，它让我自我感觉更好，至少让年轻时的我自我感觉更好。
尼瑞：辛格顿在他1993年的电影《因果循环》中引用了玛雅·安杰洛的诗。安杰洛也在电影中有小部分演出。辛格顿说他觉得安杰洛是一个格里奥——非洲传统中的讲故事者。
辛格顿：在我们家族里还有一两个人能够讲故事，你知道的，讲各种各样的故事，从周游世界和经历不同奇遇中积累智慧。那就是我看到的玛雅·安杰洛博士所做的事。她是与（美国黑人运动领袖）马丁·路德·金同时代的人，也是与（黑人运动领袖）马尔科姆·利特尔还有（著名脱口秀主持人）奥普拉·温弗瑞同时代的人。因此她跨越了非裔美国文化不同的一代又一代，影响了我们所有的人。
琼安娜·布莱斯顿：她改变了我们的文化。
尼瑞：琼安娜·布莱斯顿是弗吉尼亚州威廉玛丽学院的教授。布莱斯顿说，安杰洛在她的回忆录《我知道笼中之鸟为何歌唱》中自愿揭露了童年时期遭受过性虐待，这在当时是空前的。此书好评如潮和强大的读者群同时为非裔美国作家和女性作家打开了一扇门。
布莱斯顿：玛雅·安杰洛引发了美国文学和文化界的典范转移，使得女性作家包括有色人种女性作家的作品、天赋和才华能受到关注，获得欣赏。她以其极富魅力的典范赢得了一众追随者。
尼瑞：对布莱斯顿来说，没有了玛雅·安杰洛的世界变得不一样了。
布莱斯顿：我爱她。许多人都爱她，包括许许多多从未见过她本人的和永远不会再见到她本人的人们。但是她以那样的方式伸出双臂拥抱我们，这超越了身体上的接触。那真是一份礼物，我们真心有幸通过她和她的作品认识了她。
尼瑞：安杰洛曾说过她相信生活喜欢热爱它的人们，她热爱生活，全身心地去爱。