James Agee's Let Us Now Praise Famous Men (1941), created with photographer Walker Evans, is a landmark of American documentary literature. Commissioned originally by Fortune, it examines the lives of three Alabama sharecropping families during the Great Depression, combining ethnographic observation, political critique, meditative autobiography, and experimental prose. Evans's austere photographs and Agee's intensely lyrical, self-questioning narrative resist sentimental representations of poverty, while the book's biblical title and cadences invoke a tradition of communal praise even as the text interrogates who has the authority to represent the dispossessed. Its digressions, catalogues, fragmented reflections, and moral unease place it between reportage, modernist literary nonfiction, and social history. Agee, a novelist, poet, screenwriter, and critic, brought to the project both a profound Christian ethical sensibility and a distrust of conventional journalistic distance. His Southern upbringing, engagement with modernist literature, and experience writing for mass-circulation magazines shaped his determination to confront the economic and racial structures underlying rural poverty. The prolonged intimacy of his fieldwork also forced him to examine his own privilege and the compromises inherent in transforming other people's suffering into art. Recommended for readers of documentary fiction, social criticism, and photographic history, this demanding yet compassionate book remains essential. It rewards sustained attention, offering not merely information about Depression-era tenant life but a searching meditation on dignity, exploitation, representation, and the responsibilities of the witness.