Why is part one of And Still I Rise by Maya Angelou called 'Touch Me, Life, Not Softly?'

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Why is part one of And Still I Rise by Maya Angelou called Touch Me, Life, Not Softly?

There are four parts to And Still I Rise, by Maya Angelou, the first of which is named Touch Me, Life, Not Softly, and contains eight different poems. Here, I will use these poems to explore the possibilities as to the origins of the title of the first section of the anthology.

The ‘touch me’ part of the phrase can be very ambiguous, as it could signify the way in which there has been physical touching, or being touched in an emotional or mental way, for example, being moved to tears. The latter could then be incorporated into saying the author feels life should affect her deeply, as also illustrated with ‘not softly,’ which is a theme heavily referred to in this first section.

The very first poem of the anthology is A Kind of Love, Some Say, which explores physical abuse within a relationship, and the way the abused partner feels there is still love between the couple, as shown with, ‘Sorry eyes, spoke not/ Of lost romance, but hurt.’ The idea of life touching people is seen here, as the physical abuse in the poem will surely affect the person in question deeply, not only in life in general, but through all of their future and present relationships. Our relationships with other people are a very large part of our lives, therefore the abused partner’s life could be said to change forever, as they may find it very hard to trust people ever again, or find it hard to relate to people.

In A Kind of Love, Some Say there is also the phrase ‘Love by nature, exacts a pain,’ showing how Angelou feels life itself makes love hard, in a way that cannot be matched by anything else – ‘Unequalled on the rack.’ This also relates back to the way life touches people, in a way nothing else can.

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The next poem is Country Lover, looks at the way men can often be seen to be very careless and lack value for women throughout life, as seen with the capital letters used throughout the poem, and the very specific parts of the man’s night (‘Funky blues,’ ‘High water pants’), and then the final line of ‘and anybody’s daughter,’ which lacks the capital letters or the specific woman in question, instead implying the man does not care who he goes home with, as long as there is someone. As this subject can be linked to all generations of men throughout ...

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