Young uses both logical and emotional appeals to substantiate her views of the media portraying survivor’s stories for entertainment purposes as opposed to real-life traumatic events. Defending the survivors and using a logical appeal to readers, Young claims, “Yet poetry of witness requires ethical rigor, careful editing, and ongoing stewardship of the personal stories of living people because it’s quite easy to “do something” destructive, too. The stories aren’t just stories; they are evolving life-or-death truth. People’s memories move, their stance shifts, and the stories they tell are intricately bound up with personal survival. For that reason, the primary storytellers must be involved in shaping the public presentation of the work.” (Young
Young uses both logical and emotional appeals to substantiate her views of the media portraying survivor’s stories for entertainment purposes as opposed to real-life traumatic events. Defending the survivors and using a logical appeal to readers, Young claims, “Yet poetry of witness requires ethical rigor, careful editing, and ongoing stewardship of the personal stories of living people because it’s quite easy to “do something” destructive, too. The stories aren’t just stories; they are evolving life-or-death truth. People’s memories move, their stance shifts, and the stories they tell are intricately bound up with personal survival. For that reason, the primary storytellers must be involved in shaping the public presentation of the work.” (Young