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Although the literary quality of women's poetry from the nineteenth century has long been criticized by literary scholars, recent work in reception studies has documented readers' aesthetic experiences with such poetry in order to appreciate its popularity and appeal (Stauffer). Extending this work in literary reception studies, I draw on scholarship in rhetorical studies, specifically rhetorical aesthetics (Clark), to demonstrate how conventional poetic forms and sentimental appeals can be used by marginalized communities to facilitate identification. I examine Songs and Flowers of the Wasatch, a collection of primarily Latter-day Saint women's poetry compiled by Emmaline B. Wells for the 1893 Chicago World's Fair, as a case study in rhetorical aesthetics. The collection was compiled with the intent to change popular opinion about Utah woman and foster community within women's movements of the time, including suffrage. By analyzing how these poems operated rhetorically--facilitating aesthetic experiences through familiar poetic forms and sentimental appeals--I conclude that the collection helped change negative public opinion of Latter-day Saint women. I argue that rhetorical aesthetics and reception studies offer an alternative way for literary and rhetorical scholars to reevaluate the value of women's nineteenth-century poetry. This project invites additional scholarly inquiry into how women and other historically marginalized groups have used art to create rhetorically powerful aesthetic experiences that prepare minds for change.