This paper examines how Maya Angelou's autobiographical series, beginning with I Know Why the Caged Bird Sings (1969) and continuing through six subsequent volumes, demonstrates powerful strategies for transcending trauma through narrative acts of resilience and resistance. Drawing on trauma theory, Black feminist criticism, and narrative theory, this study analyzes Angelou's literary techniques for representing traumatic experiences while simultaneously constructing a self that refuses victimhood. The analysis reveals how Angelou employs strategic uses of voice and silence, humor as subversion, community as sanctuary, and embodied knowledge as survival mechanisms that challenge oppressive structures of racism and sexism. By tracking the evolution of these strategies across Angelou's autobiographical arc, this paper argues that her works offer not merely personal testimony but a literary blueprint for transcendence—one that has influenced subsequent trauma narratives and continues to resonate in both literary studies and therapeutic discourse. Angelou's integration of personal trauma with collective historical trauma creates a unique narrative space where individual healing becomes inseparable from cultural resistance and social transformation.