In Nora Ephron’s, “The Boston Photographs”, her main argument begins to emerge after she introduces, describes, and analyzes the three photographs of the Boston woman and her baby. Ephron’s argument builds upon Charles Seib’s column in the Post about the Boston photographs by using refutation, and further develops her own stance. She argues that censoring photographs related to human death is actually hiding an ultimate truth of humanity. The widespread use of censorship causes society to ignore one of life’s main events. Ephron takes a step further and claims that it is irresponsible and inaccurate to only show scenes of death when the photo itself is sensational, rather the actual event of death.
Moreover, the information about the photographs