February 8, 2010

Book Recommendation: Interrupted Life

By Emily Harris

Interrupted Life: Experienecs of Incarcerated Women in the United States is a recently released collection of writings by and about women who are incarcerated across the country. The collection was put together by Rickie Solinger, Paula C. Johnson, Martha L. Raimon, Tina Reynolds and Ruby C. Tapia.

I recently picked up a copy of this book, as the University of California Press website blurb describes  the collection includes  “a vivid, often highly personal essays, poems, stories, reports, and manifestos, they offer an unprecedented view of the realities of women’s experiences as they try to sustain relations with children and family on the outside, struggle for healthcare, fight to define and achieve basic rights, deal with irrational sentencing systems, remake life after prison; and more.”

I found that the collection of powerful writing brings together the wide range of harsh realities experiences by women in prisons, jails and detention centers and also highlights the remarkable ways that women inside come together and resist these conditions.  I was delight to read poems and testimony from incarcerated survivors who I have worked closely with in Michigan through the Prison Creative Arts Project and in California through Free Battered Women and was excited to see the hard work of  many amazing advocacy organizations such as the Center for Constitutional RightsJustice Now, Legal Services for Prisoners with Children and many more profiled through out the book.   If you are concerned with the over incarceration of women in our country pick up a copy at http://www.ucpress.edu/books/pages/10784.php

November 5, 2009

Mother California

imagesKenneth E. Hartman’s is the third book to come out this fall written by men doing time. I’ve written before about Dwayne Betts’ A Question of Freedom and Jarvis Masters’ That Bird Has My Wings, and now I want to share a few words about Mother California: A Story of Redemption Behind Bars by Kenneth E. Hartman.
Hartman has done twenty-nine years in five California prisons. The years Hartman writes of are the years in which I’ve known the California Department of Corrections (“Rehabilitation” has recently been added to the department’s title, but as nearly all programming is about to be cut beginning next year, there’s no rehabilitation happening other than what the men and women inside create for themselves).

I know what I know due to the various poetry workshops I’ve taught inside, as well as to researching and writing a manual for artists working in prison for the state’s Arts in Corrections program. Through teaching, interviewing staff, or sitting in visiting rooms, I’ve been in at least half of California’s thirty-three prisons. I’ve learned most from close friendships with former students – including a recent collaboration with Spoon Jackson on our book: By Heart: Poetry, Prison, and Two Lives. Spoon, Coties, Elmo, Smokey and the others are all lifers and each has served Hartman’s twenty-nine years and more.

Hartman tells not only his personal story, but also the broader story of what’s happened in California prisons in the past three decades. Both narratives are compelling, well written, factual (and accurate to what I know and hear), and incredibly important. I’ve appreciated all three books out this fall, but in many ways, Hartman’s got to me most. Due to his own skill, I’m sure, but also because so much that he writes mirrors the experiences and expressions of the men inside whom I know best.

Hartman’s personal story is one that moves from adolescent evil to adult consciousness. The book’s publisher – writer and editor James Atlas – comments on the book’s first line, which he feels is impossible to forget: “When I was nineteen, I killed a man in a drunken, drugged-up, fistfight.” Hartman immediately lets the reader know: “Anyone who knew me could have seen it coming.” He’d been in trouble for years and had spent a long time in the juvenile justice system. He was state raised (thus “Mother California”) and ended up with a life without possibility of parole sentence.

Hartman shares some of the familial reasons that logically led to his becoming such an angry young man, but there’s no blame or self-pity in his writing. Mostly his narration is objective, almost that of a journalist, not denying emotion but maintaining steady sight, and at just the right distance to allow intimate vision and wider understanding. In this way we watch the young race-identified white man do all kinds of bad in his first years in prison. And we watch, too, his increasing consciousness and self-directed change.

Since “increasing consciousness and self-directed change” is the path I’ve watched my former students walk, I am deeply curious about what encourages such opening. In Hartman’s case, writing played a part, but mostly it was love – first from (and to) his wife (who saw and reflected the good that was in him) and eventually from (and to) his beloved daughter. Although our era keeps moving away from this knowledge, everyone I know who works with young people or people in prison knows this exact truth: deep growth comes through love and bright reflection, not through punishment and negativity.

Eventually Hartman works with others to establish what’s called the Honor Program at Lancaster (California State Prison – Los Angeles County). I know a group of prisoners at New Folsom (California State Prison – Sacramento) who are also old lifers, also sick of their part in perpetuating race hatred in prison, also sick of negativity instead of steady encouragement toward greater humanity. This group, too, brings men together to do deep work on their own spirits. I’ve learned so much about real – self-directed and group-supported – change from these men. I wish the wider voting public understood that this kind of work – prisoner-led – is going on all over the country. I welcome Hartman’s report.

As Spoon and I prepare for the April 2010 release of our book, I am so glad for these three other books. “Each man does his own time,” as the saying goes, and Betts, Masters, Hartman, and Spoon Jackson prove that point. Each man “came awake” inside, but each journey was unique and not programmable. (written by Judith Tannenbaum)

November 5, 2009

Call for Submissions: Voices Through the Wall: Prisoners Write About Prisons

The editors seek non-fiction essays and prose fiction by men and women currently incarcerated in American prisons. We believe that inmates constitute a rich but untapped intellectual and cultural resource.  We hope to create a collection that mines the experience and wisdom of inmates, in order to offer a better understanding of the prison’s place in society.  We seek authors who write with the authority that only incarceration can bring.  We want their voices to become part of a public dialogue about the prison system, its culture, the environment of today’s facilities, etc.

We are open to many styles, but all submitted essays/prose must draw on first-hand experience.

Some topics of interest to us are: coping; situations; visions of a better way to operate (both personally and institutionally); self-reflection on the work of dealing with time inside; the challenges of physical and psychological survival; personal histories; what works and why it works; what doesn’t work and why it doesn’t work, etc. We are also very open to seeing what we hadn’t looked for.

Voices Through the Wall will showcase what the incarcerated have to offer to the public.  We value polished, quality writing that takes thoughtful positions even on the most passionately felt ideas.

***

Word Limit: 5,000 words (approximately 15 double-spaced pages).  Please number pages.  Clearly composed handwritten manuscripts are also acceptable.  There is no reading fee. Published authors will not receive payment but will receive one copy of the publication.

Authors should not send the sole copies of their work.  (Keep a copy of your own.)  Please include sufficient contact information (direct or through a program supervisor) so that we can inform authors of our decisions.  All contributors will be notified of results.  If possible, include postage (44-cent stamp) so we can mail our decision.  We cannot return manuscripts (which will be recycled).

Program supervisors are encouraged to solicit high-quality work and submit essays together in a single mailing.

The editors may request revisions of promising work.

***

Send work to:

    “Voices Through the Wall”
    Hamilton College
    198 College Hill Road
    Clinton, NY 13323.

Submission deadline: March 1, 2010

Please email me (rorypavach@gmail.com) or Professor Doran Larson
(dlarson@hamilton.edu) with any questions about the project.

October 31, 2009

Inside/Outside Envelope Project

swans-m

Phyllis Kornfeld – whose Cellblock Visions is a powerful and beautiful collection of art made by people in prison – has begun the Inside/Outside Envelope Project. As Phyllis describes: “Envelope art is a long-standing tradition in prison art. Beautiful envelopes sent to loved ones communicate a deep connection. The Inside/Outside Envelope Project is expanding that connection. Incarcerated men and women donate their pre-stamped, ready for use, envelope art to be sold as a fundraiser. 100% of the proceeds benefits non-profit organizations.”

Anyone interested in helping with a tax deductible contribution, send to:
A.P.E. Ltd.
126 Main St
Northampton, Ma 01060

(with a memo “For the  Inside/Outside Envelope Project.”)

October 16, 2009

That Bird Has My Wings

9780061730450

That Bird Has My Wings: The Autobiography of an Innocent Man on Death Row is Jarvis Jay Masters’ second book, and it comes with endorsements by Archbishop Desmond Tutu, Van Jones, author David Sheff, and many others. Although Masters writes of the crimes he’s committed, as well as those he’s innocent of though convicted – and although he writes some about his life on San Quentin’s Death Row – That Bird focuses primarily on Masters’ childhood and coming of age.

Much of what Masters reports is heart breaking: being left to watch over young siblings with no food to feed them, beatings and cruelty of foster care families, being set up to fight for bets by older male relatives, choices he makes against his own best interest. But Masters also describes the love he shared with his sisters, his wonderful first foster parents, the neighbor who silently left food for the children each morning, his caring though drugged mother. When life gave him a chance, Masters was the little boy he was born to be: loving, sweet, curious, responsible.

The story Masters shapes for the first two-thirds of the book lets the reader in very close as the child tries to make sense of his experience, as he learns to protect himself from hurt, and eventually, as he comes to feel most comfortable in institutions. Masters’ telling is honest, well written, deeply (humanly) interesting.

The last third or so of the book is also interesting, honest, and well written, but to me feels tacked on – more like a handful of essays than the continuation of an unfolding story. Perhaps the publisher felt the book needed to include stories from prison itself.

Both Masters and his publisher (HarperOne) seem to want the book to speak out most strongly about the foster care system. An important goal that Masters achieves. But I think the book does even more than this. That Bird shows one life – its huge difficulties and its few gifts – and how a being is shaped by both. (written by Judith Tannenbaum)

October 6, 2009

Finally Free

The Otter Creek Players, a creative arts group at the Otter Creek Correctional Facility in Wheelwright, KY, produced an original play this summer called Finally Free, which explored the themes of confinement and freedom.

Finally Free was produced through the Thousand Kites Project at Appalshop.  We were fortunate enough to be able to create an audio recording of the production at Otter Creek. Listen to the opening segment here, in which every woman in the group is heard:

Finally Free

Check out the Thousand Kites website to learn more about the project at Otter Creek, and to download a copy of the script.

One woman in the group wrote this poem in connection with the play:

This Fabulous View

I have this fabulous view from my narrow, bullet-proof plexi-glass rectangle.

I only see the beauty of the trees; the wonder of all living things I am encircled by, and the awe that it inspires within me.

I choose not to see the barbed and razor-wire, rough and sharply surrounding the “compound.”

You see, even though they have taken custody of this body, my mind is free to roam and wander to wherever I choose; beyond any physical limitations I may have.

I refuse to let them have the last word, the last laugh, the last of my sanity…

In my world, I can decide what I will allow to be or not to be. I’m the boss and you’re not, so don’t think you’re the boss of me…I control what is and what will be.

In my world, there is no such thing as captivity.