In observing the collaboration between Evans’ photography and Agee’s writing on poor white sharecroppers, I appreciate the space photography leaves for viewers to think on their own rather than be told what to recognize from a writer’s perspective and the elimination of a greater risk for harm in misrepresenting the details written about an individual’s story. However, Agee addresses the short comings in his writing, and I believe that starting a neglected conversation while acknowledging the limitations present is more valuable than simply not having that conversation. In my opinion, this discussion is strengthened in providing its subjects with the agency to have their voices and experiences heard. Agee’s writing allows for this to occur, especially in the powerful form of hearing the subjects’ opinions on these researchers themselves. On the other hand, Evans’ photography seems to remove the ability for its subjects to move out of a place of being othered. As Kat noted, in this way Evans’ photographs appear to present the initial surface-level perception of their subjects, while Agee’s writing works like Keene’s footnotes do to provide more intimate, humanizing understandings of its subjects.  I found Agee’s suggestion that his piece be “read aloud…for variations of tone, pace, shape, and dynamics are here particularly unavailable to the eye alone…with their loss, a good deal of meaning escapes” (xv) particularly intriguing. In considering this alongside the description of the men summoned to sing for Evans and Agee upon their arrival, I wondered – how could a camera lens have captured the variation and complexity in their seldom heard song? (29-30) Agee also utilizes the concept of sound to consider what impactful engagement looks like to him while discussing how one must play a song at the loudest volume and with one’s ear pressed to the speaker because this is “as near as you will ever get, you are inside the music; not only inside it, you are it; your body is no longer your shape and substance, it is the shape and substance of the music” (16). This reminded me of Lynn Hunt’s work Torrents of Emotion, which argues that in hearing the experiences of others through writing, readers gain “a new psychology and in the process (lay) the foundations for a new social and political order” (Hunt, 38-39).  By this she seems to say that in reading others’ personal experiences, you can begin to see them as alike to yourself, as having a shared interior, and thus, you can identify with those who you may have once othered. Hunt further emphasizes that this process of identification is necessary for the extended purview of empathy and without empathy, we could not have “opened the path to human rights” (Hunt, 68). Thus, in support of Hunt and Agee, I see his writing, which allows him to denote his limitations, lessen othering, and have the voice of its subjects be heard, to be more productive than Evans’ photography in the realm of furthering their subjects’ human rights.