This is followed by a discussion of the Law of Transitivity, frequent references are made to John R. The paper starts with brief notes on stylistics in relation to semantics. It aims at examining the stylistic features of the text vis-à-vis the semantic Law of Transitivity so as to investigate the features that contribute in the discourse's trespassing the sphere of informing to the sphere of interaction and influence. This paper is a stylistic study of Maya Angelou's autobiographical novel I Know Why the Caged Bird Sings. Linguistic and stylistic appraisals on her works are generally sparse. The dominant critical focus on Maya Angelou's writings has been on the thematic features of her texts. To analyse critically how racism interferes with body-consciousness, the study aims to consult the works of philosophers like Maurice Merleau-Ponty, Yancy, and Sartre feminists like Beauvoir, Spelman, Firestone cultural historians like Gilman and Afro-American writers like Gayle, Jr., and Cleaver for their valuable insights of race, body, and consciousness. Caged Bird in numerous ways suggests how body-image is closely linked with the cultural education in a community and the social acceptance of the racially marginalised position. To contextualise this socio-cultural phenomenon, the study evaluates Maya Angelou's I Know Why the Caged Bird Sings (1969). The present study seeks to explore the relation between body-image and racial marginality. Body-image forms one of the several ways of the individual and communal internalisation of racism and sexism. The African Americans are marginalised in terms of racial discrimination, ideological prejudices, and cultural stereotypes. The consciousness of body has always been a psychological, cultural, and social concern of African American people in America. Body-image is an aggregation of bodily experiences.

I know why the caged bird sings about