Comparison and Contrast Literature
Mark Angelou Autobiographies and Alice Essays
Two prominent Afro-American writers are Maya Angelou and the walker. Even though the age of both ladies is almost an iteration apart, their livelihoods are remarkably comparable. Each has written in their own autobiographies, Ms. Walker and Ms. Angelou, on their variance in the endogenous up in the south of rural countries. Although they have similar life experiences, they all have a distinctive style that gives the audiences, with all of their frailty, abilities, hopes, and fears, the gift of their sumptuous humanity.
These two women at eight years of age were struck by tragedy. In one eye, Ms. Walker lost her eye. Angelou’s been raped. The incident was described as part of a larger piece. In her book In Search of Our Mothers’ Gardens, Ms. Walker outlined her experience in the essay. As a segment, I know why the Caged Bird Sings, Miss Angelou told her story. Although they both wrote of their traumatic event, the manner in which the incident was recorded was distinct and appeared very different. Alice Walker tells the reader the facts in short phrases written today. She chooses words that give her audience a strong emotional response. For example, Ms. Walker writes, “Because I am a girl, I don’t get weapons, because I don’t know how to give BB weapons to her brothers and how she didn’t. The term “relegated” makes the reader irritable and ridiculous. I am instantly relegated to the role of Indian. Most people don’t like to be “relegated. Their explanation of meeting with her parents after the incident is a further example of Ms. Walker’s use of descriptive terms. She ‘s concerned about her parents’ being “confronted.” “Confronted” is a term of struggle. They want to start an attack when people are faced with others. The reader is conscious of the style and use of words that she is isolated and frightful. She’s left for her own fighting.
In a conversational tone, Maya Angelou tells her story. She uses the tense of the past to “it’s over” her audience. She is free of seriousness in her expressions. In the midst of sorrow, they encourage readers to see hope. Angelou invites her audience to communicate their thoughts and feelings instead of attempting to elicit a special emotional response. For example, after telling the abuse, she says, “I thought I died — I woke up in the world of walls and it must have been heavenly.” the reader feels a connection to her suffering but knows that salvation is near at hand. Whilst Walker asks her parents how she met them, Angelou says, “she ‘s taken me in her arms and the fear is reduced for quite some time.” Sensitivity and consideration only exist. Again, the reader is invited. Walker wants to see the reader; Angelou wants to feel the audience with her. By directing the reader ‘s focus to other feelings, they accomplish their objectives.
Alice Walker ‘s story is emotionally focused on rage, redness, and isolation. As I read this novel, not only with her devastating wound and the apparent dissociation of her family but also with Mrs. Walker herself, became lively. She never let go of it seemed to me. She seemed to take up her frustration instead. The anger of Ms. Angelou is subtle and short-lived, on the other hand. Although I was outraged by her events, she insisted quietly that I leave her behind. She was less concerned with her anger than with her family’s warmth and support.
The way that both women refer to the intense physical pain suffered by each of them as little girls could not be discussed. Mrs. Walker describes her anguish little, but I felt it clearly. When I read, “When I read.” In my right eye, I feel an unbelievable blow. .”And my immediate reaction was, “My eye stiffs, and I cover it with my hand,” to cover my eye quickly with my hand. My body was responding to its discomfort.
Another effect was created by Ms. Angelou ‘s description. Then it was the pain, she wrote. A break and a step in when the senses are even torn away. “I felt a heart shaking instead of a physical reaction. Ms. Walker concentrated my attention on her body injury, while Ms. Angelou concentrated on her body scares.
My strongest emotional response in both stories was one of unparalleled sorrow. Instead of the trauma of a child but also the devastating effects of the tragic event, loss of dignity, self-appreciation, and infancy alone, I was very sorry to see that sadness and desperation can ply over one heart. I wish I could comfort both of them. I did want to comfort her, but I wanted to protect her, too, by the end of Ms. Walker’s account of the incident. She was still vulnerable to her wounds. She wrote at the end of her post, “Now when I look at people-up until now a favorite holiday-they ‘re going to look back. Not for the “sweet” girl, but for its scar. I have been looking at no one for six years because I haven’t lifted my head.’
Although I wanted to console the child in Ms. Angelou ‘s story, it became obvious that Maya Angelou’s adult did not need my safety. She concluded with this account: “I would like the rest of my life to be in the hospital. Mother brought with her flowers and sweetheart. Grandmother came with fruit and my uncles snorted like wild horses around my bed. He read to me hours when they could get in Bailey. Her family loved her through her ordeal, and with her encouragement, she shifted from despair to hope.
The two very brave writers are Alice Walker and Maya Angelou. We receive a rare, moving gift from everyone. In the face of isolation and despair, Alice Walker confronts us, just as her work suggests. Maya Angelou, who “knows how to sing the Caged Bird, recalls us that the last word is never loneliness and despair. She guides us softly to a hope opening. Both women are blessing us with human shades.