Read the excerpt from "mother tongue." and sure enough, the following week there we were in front of this astonished stockbroker, and i was sitting there red-faced and quiet, and my mother, the real mrs. tan, was shouting at his boss in her impeccable broken english. which information from the excerpt best supports the inference that all forms of english can be effective forms of communication? tan uses “red-faced” to describe herself when her mother is speaking. tan uses the phrase “the real mrs. tan” to refer to her mother. tan uses the word “shouting” to describe her mother’s tone of voice. tan uses the word “impeccable” to describe her mother’s english.

Tan uses the word “impeccable” to describe her mother's English.

D

Explanation

In the story, Tan describes her mother when she shouts a stockbroker's boss using in impeccable English.

This means that even though Tan's mother is not fluent in her English, he still believes that her English is still well enough.

Tan felt the band when he described his mother's English as broken.

This always bothered him and thought it was destroyed and was to be implemented since it lacked sound and wholeness.

Therefore this is the reason why he described it as impeccable.

the use of “as” in the example to draw the resemblance. some more examples of common similes are given below. common examples of simile. our soldiers are as brave as lions. her cheeks are red like a rose. he is as funny as a monkey. the water well was as dry as a bone. he is as cunning as a fox. simile introduces vividness into what we say.

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serve the people! ,” smoothly translated by julia lovell, offers an initial sample of yan lianke’s writing to an english-speaking audience. a bluntly drawn, mildly erotic fable, it teases mao zedong by poking fun at a true believer who obeys the chairman’s precepts too literally. to a western sensibility, the broad strokes of yan lianke’s humor would seem to pose little risk of inciting rebellion, whether of the flesh or of the body politic. but then, part of the book’s attraction is that it doesn’t have a western sensibility. it lets the reader see — or rather, intuit — what jokes chinese officials don’t consider funny, and how very little it takes for a writer to be branded an incendiary in 21st-century china, more than three decades after the death of mao, a decade after the death of deng xiaoping and seven years since china entered the world trade organization, a move that would seem to signal a willingness (however wary) to mingle with the rest of the world.