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The main message in this story is that the power of a nurturing and caring figure can play a significant role in transformation, whether mentally, physically, or through any other means. In "I Know Why The Caged Bird Sings," throughout the story, Maya Angelou reflects on her interactions with Mrs. Flowers, showing times of bonding and displaying her influence on Angelou's personal growth and change in world perspective. At one moment, when Marguerite glanced back at her childhood, she stated, "That was a totally new idea to me, and I would need time to think about it" (Angelou 243). This statement was about the importance of speaking, which Mrs. Flowers lectured her about; moreover, this made Maya take on a new perspective and become more accustomed to the time. Later in the story, the progression of Maya's life is shown to the reader, highlighting the power of Mrs. Flowers: "I was liked, and what a difference it made. I was not respected as Mrs. Henderson's grandchild or Bailey's sister but for just being Marguerite Johnson" (Angelou 245). This quote shows that in contrast to her original beginnings, the change in perspective caused Marguerite to find her form of solace and gain a newly obtained confidence, wrapping back to the central message of the power of nurturing and caring for someone on their transformation.

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The prevailing message in "Going to Japan" is that people's cultural background affects their perspective. The narrative expresses this message by portraying the narrator's difficulty with cultural accustomation caused by her origins in American culture. Because of this, she does some peculiar and inappropriate actions concerning Japanese culture. One key example of such an action is when the narrator gets confused by the conflict in cultural expectations between her old country and the Japanese: "I bumped into people. I crossed my arms when I listened, which turns out to be, in Japanese body language, the sign for indicating brazenly that one is bored" (Kingsolver 856). This situation is an unintended confusion as the perspective of crossing arms in American culture shows interest. At the same time, it is stated otherwise in Japanese culture as they consider it inappropriate to express through the word "Brazenly". Additionally, she becomes disappointed in herself because of her blunders. However, despite these blunders, the Japenese always keep an open mind in the form of forgiveness, as it is engrained in the cultural perspective, so much so that they believe it is the highest satisfaction: "To forgive, for us, is the highest satisfaction. To forgive a foreigner, ah! Even better" (Kingsolver 857); this quote shows the fact that once again cultural background affects the perspective of people.

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The main message is to keep the variance between perception and reality from one's intentions. For most of Saeed's life, he spends time veering off the topic of his love life with his mom because he fears the consequences and how she might judge him. In reality, though, after opening up, his mom responds, "I love you, Saeed ..... And honestly, you sound happy. If you're happy, I'm happy" (Jones 97). Her support exemplifies that what one thinks could differ from what occurs. Moreover, her response exhibits how openly communicating with essential figures in your life may deepen your understanding of them and strengthen your connection with them.

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The Characters in the Story are Sister Flowers, Mama, Bailey, and Marguerite.

The most significant character who develops the characteristics of Marguerite - the protagonist, is Miss Flowers. The connection between Miss Flowers and Marguerite is displayed strongly throughout the story, which causes a bond between the characters, scaling the importance of any actions Miss Flowers does involving Marguerite. One instance of where this bond is displayed is through Marguerite's adoration for Mrs Flowers: "She has remained throughout my life what the measure of a human being can be" (Angelou 238); this quote shows the great magnitude that Miss Flowers carries insides Maya's mind, by the way, she looks up to Miss Flowers. Using this background, the primary change Mrs Flowers had a significant effect on Marguerite's characteristics was that Mrs Flowers provided a tunnel between two stages of her life, enabling Maya to become more confident and overcome her mental block of inability to talk. The narrative exemplifies this transformation when Marguerite reflects: "I was liked, and what a difference it made" (Tan 245), which shows Marguerite's appreciation for Mrs Flowers's care for her and the effects of her care.

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Saeed, Saeed's mother, Rob (Saeed's Boyfriend)

The most important character in the story is Saeed's mother. She is very influential throughout the story; even during his time in college, Saeed and his mother still manage to stay in touch. Their relationship is evident in this passage: "Mom and I would call each other once a week, sometimes more. If I let more than a week lapse, I just felt vaguely off and unsure why until I realized that I hadn't heard her [his mother] voice in however many days" (Jones 95). This statement portrays the vital presence of Saeed's mother in his life as without her, Saeed feels uneasy. However, Saeed is still nervous when mentioning sensitive topics with his mother, such as his dating life and studies. Saeed's mixed emotions when communicating with his mom demonstrate the complexity of their relationship. With all this said, Saeed's mother is the most influential character in the story because she influences Saeed's emotions and actions.

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Barbara, Barbara's Friend, Aunt Zelda, Pilot

Barbara Kingsolver's Japanese friend demonstrates an indispensable role in the plot. Her Japanese friend expresses, "To forgive, for us, is the highest satisfaction. To forgive a foreigner, ah! Even better. You have probably made many people happy here" (Kingsolver 779). This quote marks a pivotal point when Barbara begins to understand Japanese culture. When she thinks about her friend's words, the guilt of not being up to Japanese standards dissipates, which lets her adopt the culture as her own.

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A noteworthy feature of "Going to Japan" is the usage of dialogue throughout the story. One quote that demonstrates this unique usage of dialogue is, "I sprayed my elderly neighbor with cold water. In the face. 'Moshi wake gozaimasen' I declared, with feeling" (Kingsolver, 857). This quote displays how important the idea of forgiveness is in Japanese culture. Even for minor accidents, people ask for forgiveness profoundly and thoughtfully. Dialogue appears like this throughout the story, further exemplifying how forgiveness is essential to Japanese culture.

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The pervading tone of the story is self-deprecating. Throughout the tale, Barbara Kingsolver constantly criticizes herself and her inability to understand Japanese culture. When her host suggests that the Japanese language is apology-centered, she quickly learns a few apologies, recalling, "I quickly memorized an urgent one, 'Sumimasen,' and another for especially extreme cases, 'Moshie wake gozaimasen.' This translate approximately to mean, 'If you please, my transgression is so inexcusable that I wish I were dead'" (Kingsolver 856). The choice to memorize an apology, especially of such gravity, provides the reader with some irony and navigates the cultural misunderstandings throughout the story. Moreover, these apologies make her appear lesser than others, as she repents very severely for trivial matters.

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Amy Tan's narrative conveys that beauty is not as simple as it seems, from its subjectivity to its varying positive and negative effects. Tan illustrates this message by showing the subjective nature of beauty when she reflects, "I was not attractive according to an American aesthetic" (Tan 1). In this case, she acknowledges that she does not fit into the norm highlighting that beauty is not a defined standard and is subjective. Additionally, the story strengthens this idea when Tan reveals that she "had a boyfriend who loved her" (Tan 8). By connecting the presence of a boyfriend with the acknowledgement of one's attractiveness, Tan implies that how attractive she is can differ from person to person. Tan also speaks about its nuanced effects when she talks about the positive side of beauty: "Everyone spoil me, the servants, my grandmother, my aunts, because I was pretty beyond belief" (Tan 4). This perspective on beauty shows the positive parts that come along with beauty.

Nevertheless, there are other effects. Tan additionally expresses the crippling effects when she talks about her mother's boyfriend's view of her mother: "Later he openly brought his girlfriends home to humiliate her, to prove that her beauty and her pride were worth nothing" (Tan 6). Her boyfriend's actions show the trouble her mother went through to be seen as too beautiful, showcasing the dual nature of beauty.

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Amy Tan, Amy Tan's Mother, Amy Tan's Boyfriend, Amy Tan's Grandmother.

The most influential character in the story is Amy Tan's mother, whose actions progress the story by causing Amy Tan to doubt her beauty. One report highlights this influence: "She should know, she said. She had been born a natural beauty" (Tan 4). Through this statement, Amy Tan's mother sets an expectation for Amy, even though she later describes Amy as not attractive. Additionally, Amy's physical appearance and her mother's perception of it create a contrast that leads to Amy feeling self-conscious. This experience helps her realize that beauty goes beyond looks. To add, her mother also contributes to Amy's self-doubt by tormenting her: "Too bad you got your father's feet" (Tan 8), which causes Amy to become more insecure and obsessed with getting better looks. However, the end of the story marks the impact of her mother's influence, as all the actions Amy's mother took 'scarred' her. This effect is evident in Amy's question: 'If beauty is bad luck, why do I still want it?' (Tan 11). By entwining all these effects the mother had explicitly, one can see that her mother was the one who made Amy the character she is.

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One noteworthy feature from Maya Angelou's "I Know Why The Caged Bird Sings" is Maya Angelou's figurative language. Maya Angelou's figurative language enhances the reader's understanding and mental imagery. A clear example of this usage is when Maya says that Mrs Flowers was "the lady who threw me my first life line" (Angelou 238); this metaphor shows the respect and reverence she has for Mrs Flowers's effort while also setting forth the visualization to the reader that Mrs. Flowers was the first person to give Marguerite a chance to change her character.

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A noteworthy feature of the text "How We Fight For Our Lives" is the dialogue between Saeed and his mother during their calls. An example of this dialogue in the story is "More silence. 'You [his mother] know, because my closet is really messy?' Silence. 'I'm gay.'" (Jones, 96). This revelation displays how important the calls between Saeed and his mom are, as it is how the story achieves the climax. The climax is when Saeed comes out as gay to his mom, which he does through dialogue over the call. This effect is why dialogue is important in "How We Fight For Our Lives" because of how it advanced the plot.

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One noteworthy feature in Pretty Beyond Belief is the use of imagery. The author's vivid imagery significantly conveys cultural perspectives on beauty, personal reflections, and the evolving mother-daughter relationship in the passage. For example, when the narrator's mother describes her youthful beauty: "Her skin bore 'no spots or dots,' and she would often say to me, even into her seventies and eighties, 'Feel. Still smooth and soft'" (Tan 5). This descriptive imagery not only provides a sensory experience for the reader but also serves as a reflection of the mother's perception of her beauty. Additionally, the description of the narrator's features uses imagery to convey the mother's standards of beauty: "She wondered why I had not inherited any of the good features of her face, and pointed out that my nostrils and lips were too coarse, my skin too dark" (Tan 8). Using visual imagery here helps convey the mother's opinion of the narrator's appearance. Towards the end of the passage, a bonding moment in the mother-daughter relationship is captured through imagery when the narrator reflects on the shared physical traits with her mother: "Time and age had allowed us to come closer. Now we had the same lines formed by cautious half-smiles. We had the same loss of fat above the innocent eye, the same crimped chin holding back what we really felt" (Tan 10). The visual imagery in this statement becomes a powerful metaphor for the emotional connection between the narrator and her mother. The shared physical features, described precisely, symbolize a deeper understanding and acceptance between the two, visually representing their emotional closeness.

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From the very beginning of the narrative "I Know Why The Caged Bird Sings," the narrator establishes an admiring and grateful tone. One instance of this tone is shown on Page 240 when Marguerite expresses this sentiment, "She appealed to me because she was like people I have never met personally" (Angelou). In this statement, Marguerite reflects on why Mrs. Flowers appeals to her, revealing the admiration she feels for Mrs. Flowers. Additionally, Angelou shows her appreciation for Mrs. Flowers's care through the statement: "I was liked, and what a difference it made" (Angelou 245), showing the magnitude of Mrs. Flowers's actions and Marguerite's grateful disposition for her.

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In her autobiography, Maya Angelou recalls her past experiences and reflects on how her prior incidents affected her. She recalls: "I was liked, and what a difference it made. I was respected not as Mrs. Henderson's grandchild or Bailey's sister but for just being Marguerite Johnson" (Angelou 245). In this example, she reflects on how vital events, such as the meeting with Mrs. Flowers, completely changed her viewpoint on society.

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The self-conscious tone is conveyed through the protagonist's thoughts, reflecting self-awareness. Amy Tan maintains the tone by providing various instances of reflexive criticism: "I believed that I was not attractive according to an American aesthetic..." (Tan 1); this line of thinking shows her insecurities towards her beauty. Self-consciousness is displayed not only at the story's beginning but also in the later part. For instance, she internalizes her desire by asking, "Why do I long to look like my mother?" (Tan 11). This question shows her introspection on why she wants to look like her mother, enlarging an essential question on her insecurities.

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The tone of the excerpt from the story "How We Fight for Our Lives" is apprehensive. Saeed relays a tone of apprehension as he pertains to a desire to inform his mother about his sexual orientation throughout the story. Nevertheless, he still fears the outcome of telling her [his mother]. The narrative illustrates this discrete fear when Saeed says, "Coming out to her then became such a daunting prospect..." (Jones 95). This quote displays his apprehensive nature about the topic, as he worries about coming out to his mom.

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Saeed reflects on how much he was concealing from his mother. He contemplates his mother's thoughts about him and whether her perception aligns with his true identity. During the conclusion, Saeed thinks, "There was still so much I hadn't told my mother, so much I knew that I would probably never tell her. I had come out to my mother as a gay man, but within minutes, I realized I had not come out to her as myself" (Jones 98). Saeed acknowledges that despite sharing his sexual orientation, there is still much crucial personal information he has not shared, details he is still afraid to share.

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Barbara Kingsolver reflects on how her understanding of Japanese culture evolved between the beginning and end of her trip to Japan. This reflection is witnessed in the text, which says, "What a rich wisdom it wound be, and how much a more bountiful a harvest, to gain pleasure not from achieving personal perfection but from understanding the inevitability of imperfection and pardoning those who also fall short of it" (Kingsolver 857). This quote displays how she treats her ignorance at the trip's start as something bound to happen and learns to accept it. It also shows her adaptation to the Japanese culture, as she gains pleasure through forgiving people's imperfections.

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One line of reflection that is indispensable in Pretty Beyond Belief is: "Now we had the same lines formed by cautious half-smiles. We had the same loss of fat above the innocent eye, the same crimped chin holding back what we really felt" (Tan 10). In this statement, the narrator reflects on the physical similarities between herself and her mother, using these shared features as a metaphor for the emotional closeness that has developed over time. However, it serves a role more impactful than this one as well. Observing shared facial expressions and physical changes suggests variability of looks and appearance since, in the beginning, the narrator's mom used to comment on her daughter's plain-looking appearance, providing that beauty is subjective.

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The setting in "How We Fight For Our Lives" changes and varies over time and affects Jones' thought process, which this quote shows, "I called home one day while walking up the hill to class. I stared at the mimosa trees while my mother and I chatted aimlessly, until the word 'gay' finally dropped out of my mouth" (Jones 96). This setting changes his thought process by making him calmer, which lets him become vulnerable to his mom. At Rob's house, the teenage environment influences his poor decision-making as he attempts to get drunk off sangria.

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The setting of "Pretty Beyond Belief" is in Oakland, California, during the 1960s, but many of the anecdotes told by Amy's mom are set in Shanghai, China. The setting is essential in this book because it sets the standards for Amy in beauty. The short story introduces some background information: "Amy Tan was born in 1952, in Oakland, California, the daughter of Chinese immigrants. She grew up in northern California" (Tan 1). Being a first-generation American, Amy Tan has to deal with comparisons from her family based on Chinese standards while still coping with judgment from others based on American standards. In addition, the judgement of Amy by others is the story's central conflict, furthering the importance of the setting.

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The story's setting is Kyoto, Hiroshima, Osaka, Japan. The setting plays a significant part in the plot because of the different societal norms compared to the birthplace of the protagonist, the USA. Trying not to be seen as an "Ugly American," Barbara asks for advice on items to pack, the consensus being electronic devices. Barbara reflects on her readiness when leaving, stating, "And so it came to pass that I arrived in Kyoto an utter foreigner, unprepared" (Kingsolver 854). Yet, with all the preparations made by Barbara, she reflects on how she still needs to prepare and is culturally ignorant. These critical points introduced by the setting further the plot and create a new dynamic in the story.

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The setting of this story connects to the story through the time period having an oppressive societal norm against African Americans, especially women, which Mrs. Flowers goes against, shown when the text says that Mrs Flowers "was the aristocrat of Black Stamps" (Angelou 238). This setting advances the plot by portraying Mrs. Flowers as a standout character, challenging the stereotype imposed by segregation that limited the empowerment of black women.