When it came time to recite what she knew, Jing-Mei was so sure of herself that she could pull it off that she began making sure all they keys on the piano were punched incorrectly and realizing it. Jinq-Mei method was successful but it was here that she brought shame to her mother. The show was a disaster and Jing-Mei hated the piano so much to the point that she would go against the back home Chinese culture. She breaks all the rules and respect for her mother flies out the window. Jing-Mei's desire changes drastically and becomes more Americanized in her attitude of feeling more liberated. In conclusion, it appears that love becomes the motivator once again. As a full-grown woman, having her mother propose her the piano once more, Jing-Mei, with love in her heart, welcomes the reassurance provided by her mother. Plans have changed; in the end...

This new attitude change shows that Jing-Mei has admiration to an art they she chose to neglect but now selects to embrace. Ultimately, it can be said, she was a young girl that tried as a young girl but made it work as an adult.
Bibliography

Girard, Kristin Ann. "Mother/cultures and the "New World? ." Daughters: Ethnic Identity Formation and the Mother-Daughter Relationship in Contemporary (2006): 56-89. State University of New York,.

Tan, Amy. Two Kinds.American Stories II: Fiction from the Atlantic Monthly. San Francisco: Ed. C. Michael Curtis, 1991.

Yu, Su-Lin. "Sisterhood as Cultural Difference in Amy Tan's the Hundred Secret." Critique: Studies in Contemporary Fiction (2006): 202-250.