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The groupthink mentality here relies heavily on the rhetoric of tradition, using the old chestnut of "There's always been a lottery" to perpetuate the town's draconian human sacrifice for the sake of who-know's-what-anymore (336).

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Banksy demonstrates that he has the ability to peacefully protest and speak for his own ideals in his painting titled, "Rage, the Flower Thrower" and "Love Is in the Air" (378).

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The mob mentality in the story demonstrates how in the face of immoral traditions of the past, the younger generation must summon strength within themselves to stand against the tradition or else the old folk will continue to perpetuate their older traditions and criticize new ideas, calling people a "pack of crazy fools" for "listening to the young folks" (337).

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Díaz stands still in the face of adversity, and eventually writes about the whole pain of the "vulnerability matrix" and "becoming fear" to regain what he lost in his adolescent years of terrified paralysis (352, 353).

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Dweck ultimately tells us that the real success comes in knowing why you failed, and getting back in the game one tough-yet-valuable lesson smarter.

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The "tiny blade" --much smaller than, but just as sharp as the knife of the "butcher" of a teacher--cuts deeply into the young speaker's sense of belonging (23).

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Nezhukumatahil tells the story the hits home to many students having to listen to there teachers take attendance when the teacher "buthces your name like he has a bloody sausage casing stuck between his teeth", she perfectly captures the embarrassing emotion of how this one moment means so much more to the student, because their name may have a tie to their culture, personality, or just who they are.

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Diaz demonstrates his own personal strength by standing against his opposition and not let his fear define him after realizing that he would be "running away forever" if he didn't stand up to them (305).

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Komunyakaa descriptively shows the importance of youth, playing basketball, and the unawareness around them. He describes this as Komunyakaa writes, "Fast breaks. Lay ups. With Mercury's

Insignia on our sneakers" (Komunyakaa 1). This truly displays the joy of being young and carefree.

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Due to the discrimination and bullying that Diaz received at school, from his classmates, he was "forced" to face his adversity, and stand up for himself to his bullies, but when he did, they simply, "without a word, they walked past," demonstrating how his terror was greater than the threat, moreover; how "fear is the mind-killer" (304-305).

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Nezhukumatahil expects to "breathe deep" before her name is "butchered" regularly by her "teacher who means well," yet the remark is always degrading and embarrassing since it separates her from her classmates more than she already is (298).

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The image of Banksy's "The Flower Thrower" (379) shows a resistance to violence, by comparing the act of throwing flowers instead of a rock, which suggests that love is more powerful than aggression, showing that people around the world can all resist the bad in the world.

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In the art piece, “Rage, the flower thrower”(379) Banksy captures a scene of a man with an aggressive stance throwing a bouquet of flowers which creates a powerful contrast and message of protest and nonviolence.

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The lottery uses certain rhetoric and phrases to drop hints to the reader of what the lottery actually is, from "Bobby Martin had already stuffed his pockets full of stone, and other boys soon followed his example" (331) to "The black box grew shabbier each year" (333), Jackson subtly foreshadows the dark truth about what the lottery is, in later pages.

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The village people have become used to a horrible tradition of stoning each other in their "Lottery" and have succumbed to the mob mentality, "Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example, selecting the smoothest and roundest stones." (Shirley 331).

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Nezhukumatahil portrays the story of a student (possibly herself) in a certain culture-based community, truly showing the experience and embarrassment that happens with something so little as butchering someone's name as if you take away their identity;

"The freshly soaped necks

and armpits. Your teacher means well,

even if he butchers your name like

he has a bloody sausage casing stuck

between his teeth, handprints

on his white, sloppy apron." (Nezhukumatahil 298).

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Nezhukumatathil Portrays the scene as “fake-lemon antiseptic” otherwise displaying an overly perfect setting. “Means well” shows how it isn’t the teachers intention. When he “butchers” it horribly, embarrassment is brought onto her, even if not directly (298).

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In "The Monsters Are Due on Maple Street," the townspeople allow fear and suspicion to consume them. The accusations and scapegoating prevent them from thinking rationally and calming down. They allow fear to consume them.

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In the terror, Diaz is racially profiled, in the beginning Diaz is jumped, brings fear upon his conscious. Diaz lets this fear consume him, he lets it take over his life. He states “I hated myself for my cowardice” showing how he wants to be brave, but he can’t find it in him. In the end he is able to face his perpetrators, as he realizes the fear was mostly just in his head (304).

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The mob mentality found in The Lottery starts with the introduction, Jackson try’s to paint the picture of a “clear and sunny” summer day, this makes the setting feel calm and inviting. However as the story progresses, Jackson begins to allude to the truly horrible truth of the lottery. “Back to the pile of stones” is the first of the horrible illusions, and foreshadows the awful truth of the lottery (331-333).

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In Shirley Jackson's The Lottery, we get shown a vague yet lucid description of what the Lottery is and what role it plays in this small town, with Jackson planting small seeds of curiosity and discomfort that continue to grow in the readers mind with unsettling lines like "lottery in June, corn be heavy soon"(337), the reader scrambles to piece the picture together to inevitably discover the unwanted truth of what really happens when you who wins the lottery.

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Here, fear and paranoia corrupt the townspeople's minds with the question of who could be the monster, expressing how "they pick the most dangerous animal they can find and its themselves" due to their suspicion, which eventually leads to their demise. (The Twilight Zone: The Monsters Are Due On Maple Street)

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The villagers have no control over their fate and distinction between what is morally correct and corrupt, they have a clouded head where their emotions towards the lottery have been rejected by the tradition. "There's always been a lottery," (Jackson 337).

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Diaz's body was consumed and ruled by fear, in which the way he walked was run by his own false reality of his feelings and his mind had only fear written on it. "Fear is the mind-killer," (Diaz 304). "I became afraid," (Diaz 304). "I was furious and ashamed but above all else I was afraid," (Diaz 303).

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Without realizing when one and single sided stories are told, leave people believing the danger that one person's perspective, is the only story that is true. "So that is how to create a single story, show a people as one ting, as only one thing, over and over again, and that is what they become," (Adichie 289).

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In the Twilight Zone episode "Monsters Are Due on Maple Street" we see the unfolding of a happy unfazed town turn into an uncontrolled and uncivilized mob that manipulates and breaks the relationships the towns people had with one another, with fear and paranoia consuming their ability to think rationally.

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In the piece "Rage, the Flower Thrower", Banksy shows that he has the power of nonviolent protest. This is shown through how the protestor is throwing flowers rather than a rock or explosive, which suggests that love is often more powerful than violence and is better for promoting peace.

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In "The Monsters Are Due on Maple Street" the entire town is under one mob mentality, and they continuously scape goat a different person. This shows how people can be controlled under one big thought and not have their original thoughts.

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In "The Lottery", the people in the town have made a horrifying ritual normalized through mob mentality and a traditional mindset. This is shown when a highly respected person in the town (Old Man Warner) scorns not doing the lottery: "Pack of crazy old fools,...There's always been a lottery."

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In "The Mindsets", Dweck talks about how grades and letters don't define who you are. She talks about how you shouldn't let others and their expectations control you.

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In "The Danger of a Single Story", Adichie talks about how even though single stories can be based on truth, it can be very dangerous to think of them as the whole truth. When you understand and recognize these single stories you can rise up and stop these stereotypes.

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Banksy tells us that you should be able to peacefully protest no matter what is happening or where you are in the world through the art work, "Rage, The Flower Thrower"

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Carol Dweck tells us how you should not let one outcome define who you grow to be as a person, and that you should set your own standards.

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In "Slam, Dunk, and Hook", Komunyakaa paints a vivid image of having a hobby that you enjoy so much that it makes you forget about the rest of life. This is shown when he writes " Our bodies spun/ On swivels of bone and faith,/Through a lyric slipknot/ Of joy. & we knew we were/ Beautiful & dangerous."

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In the lottery, the villagers are influenced by the larger group, the village, and their tradition of having a lottery. Their moral compass and mentality changed with the group. This is demonstrated by the quote, "Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example". (331)

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The "bloody sausage casing stuck between his teeth" and "handprints on his white, sloppy apron" really illustrated how the mere act of mispronouncing a name by the teacher/"butcher" hurt the speaker and brought upon feelings of not belonging or being different. (298)

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In standing still and facing the brothers, facing his fear, Diaz was able to not let the fear ultimately take over him.

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In "The Monsters Are Due On Maple Street" a Twilight Zone episode, we see that fear and paranoia take over the minds of an entire town, this pushes them to have a mob mentality and scapegoat one another until the whole town loses their minds and nobody can trust anyone.

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Dweck her entire life has had a fascination with how people have been able to have control of their mindsets and growth, and in "The Mindsets" she tells us that in order to have confidence and control over our learning and growth we have to embrace our challenges and learn from criticism.

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Nezhukumatathil uses phrases that convey the intense pressure of not only the student but also the teacher, she portrays the feeling of your name being called "even if he butchers your name" or shows the results of "handprints on his white, sloppy apron," the intense feeling of guilt shown y the handprints and yourself and a table as your teacher chops away at your identity. (298)

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"The Monsters Are Due on Maple Street" shows the mob mentality, seemingly irrational, and immoral actions that can occur when people are thrust into the unknown with those around them afraid, and in this case causing the group to start using scapegoats with little to no actual evidence.

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The painting "Rage, the Flower Thrower" (378) Banksy creates this image of peace in an unforeseen type of way, he manipulates the viewer by taking an unseemingly man and puts a symbol of peace in his hands.

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Although single stories are such a widespread occurrence that causes many problems today, Adiche addresses the root of the issue and tells us that with only one perspective and story we can never see the whole picture, and with this small part of the story we naturally make assumptions off it even though they are untrue and uneducated.

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In the story, Nezhukumatathil feels singled out as the teacher does something so simple, saying her name, she feels as if it's being "butchered" and her reputation will be ruined forever, as if it already isn't considering her race. But then she remembers all she has to do is just imagine that they aren't staring at her, but the other way around, asserting herself in her own way.

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A single story is merely a belief, a rumor someone has about a certain something else that can, if not careful, snowball into something much bigger and terrible. I can all depend on just one person to start and stop a single story that could potentially lead to changes in society, and people not seeing the truth.

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In the terror, Diaz was not just scared, but the fear had taken over. He needed to search inside himself for the light at the end of this tunnel of this worry and take charge for himself over the brothers, and eventually, quite literally, stand up to them.