choice of language, course creates a strong, negative association with sweatshops in the ‘of not,’ conditions in these facilities are so terrible that the author himself clearly would reader’s mind. If never want to work there, then our trust in the argument wavers. Toward the end of the paper, Kristof claims best way to help people in the that, “The poorest countries to campaign against sweatshops but to isn’t promote manufacturing there,” going on to scratch the surface of one possible solution; we could help one country, Africa, by strengthening a program called AGOA that seeks to encourage African imports and push Europe to match it (111). Fantastic. But how exactly do we go about accomplishing that? What are the specific inner-workings, credentials, and goals of AGOA? Kristof never gets around to elaborating on any of these lingering questions the audience is left with; nor does he offer any other possible solutions. Not to mention, some of the necessary channels for carrying out these measures, like the President and Congress, are completely alienated and undermined in as early as the fourth paragraph of the argument by addressing them as and the “Mr. Obama Democrats” (Kristof 109). Finally, Kristof concludes his argument with a statement from a 13-year-old girl who we are told earns less than $1 a day by scavenging in the dump, who is filthy in appearance, and fears for her sister who lost her hand when she was run over by a garbage truck: “It’s dirty, hot, and is (111). Like the rest of his argument, Kristof leaves the smelly here…A factory better” audience with a sorrowful feeling and a desire to act upon it, but does not follow through with ideas for how we can do that. Ultimately, a in making its “Where Sweatshops Are Dream” somewhat succeeds audience aware of extremely impoverished conditions those living in the poorest countries of our world face on a daily basis, but is not developed well enough to succeed in making its audience support the argument in favor of sweatshops. As much as the audience is compelled to author’s
choice of language, ‘of course not,’ creates a strong, negative association with sweatshops in the reader’s mind. If conditions in these facilities are so terrible that the author himself clearly would never want to work there, then our trust in the argument wavers. Toward the end of the paper, Kristof claims that, “The best way to help people in the poorest countries isn’t to campaign against sweatshops but to promote manufacturing there,” going on to scratch the surface of one possible solution; we could help one country, Africa, by strengthening a program called AGOA that seeks to encourage African imports and push Europe to match it (111). Fantastic. But how exactly do we go about accomplishing that? What are the specific inner-workings, credentials, and goals of AGOA? Kristof never gets around to elaborating on any of these lingering questions the audience is left with; nor does he offer any other possible solutions. Not to mention, some of the necessary channels for carrying out these measures, like the President and Congress, are completely alienated and undermined in as early as the fourth paragraph of the argument by addressing them as “Mr. Obama and the Democrats” (Kristof 109). Finally, Kristof concludes his argument with a statement from a 13-year-old girl who we are told earns less than $1 a day by scavenging in the dump, who is filthy in appearance, and fears for her sister who lost her hand when she was run over by a garbage truck: “It’s dirty, hot, and smelly here…A factory is better” (111). Like the rest of his argument, Kristof leaves the audience with a sorrowful feeling and a desire to act upon it, but does not follow through with ideas for how we can do that. Ultimately, “Where Sweatshops Are a Dream” somewhat succeeds in making its audience aware of extremely impoverished conditions those living in the poorest countries of our world face on a daily basis, but is not developed well enough to succeed in making its audience support the author’s argument in favor of sweatshops. As much as the audience is compelled to