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<u>"The Wretched and the Beautiful", by E. Lily Yu develops the theme of how refugees are perceived and treated, but does so through an impactful metaphor - aliens.</u>
In the story, the extraterrestrials that first appear on a beach are received with violence. Humans are quick to attack them, seeing them as dangerous, unwelcomed visitors. Those aliens ask for refuge, which then leads humans to confusion. They do not wish to help, to get involved in someone else's problems.
A second group of aliens arrive and convinces the humans that the first group consists of criminals. Humans are more than relieved when they realize they are not the ones who will deal with those first aliens.
It is important to notice that the first aliens had an atrocious appearance, while the second group was beautiful. How come humans accepted what the beautiful ones said as the truth, but not what the ugly ones said? Our judgment is quick. We are scared of what is different, of what is foreign, of what is helpless. We like what is similar to us, what will not demand anything from us.
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The direct characters in The Cask of Amontillado are Montresor (the first-person narrator) and the ironically-named Fortunato, his inadvertent enemy. No one else appears in the story, but reference is made to several indirect characters.Luchesi is a man known to both Montresor and Fortunato. He has a reputation as a connoisseur of wine and is therefore a rival to Fortunato in this respect. Fortunato contemptuously dismisses his expertise, but this may be mere bravado. Montresor uses repeated references to Luchesi as a form of reverse psychology to lure Fortunato into the vaultMontresor's disobedient servants are also mentioned. We do not know how many there are, but the fact that he has several makes us question his claim to be a ruined man. He has expressly told them to stay in the house and is cynically certain that this is the way to ensure their departureLady Fortunato is mentioned by her unfortunate husband. She will be waiting, in company, at the palazzo.
