Archive | September, 2011

Ruminations on Incarceration (an excerpt)

27 Sep

Carlos Contreras has been twice recognized as a national champion performance poet. He works an educator, leading writing workshops in Albuquerque’s adult jail facility at the Gordon Bernell Charter School. For the complete version of this piece, please visit his blog.

The reflections that exist here are the thoughts of a career educator, poet, writer, and human being, a piece of humanity that searched and is most likely still searching for pieces of the same, somewhere, perhaps still in the same place – inside.

Command Call:

Razor blades, depending on the day,

mail, maybe,

a message from the captain,

perhaps the beds weren’t made in accordance to the accordion

of expectations, depending on the oversight

the desired level of diligence can eaaassily, be adjusted…

Discomfort.

Command call,

An upright, out front, stand in front of your home

Line up situation,

Where you shut the fuck up,

and listen.

It doesn’t matter

what you think,

made obvious in the tone, manner, or message,

most days.

Hopefully not all,

Mail,

Razorblades,

Depending on the day.

Most days start the same. I-40 West to a street with a changed name, for reasons I’ve yet to ask, and could care less about in regards to where it leads me, either way it leads, to nowhere. Westside Albuquerque, mesa deserted of hope, or ambition, the perfect place to dump three thousand people that everyone else can feel content about forgetting. Those that remember, send money, make phone calls, bring bibles, or pamphlets, children, or worries; those that matter still to the ones barred from society, sit on the other side of telephones and cameras, the booths for viewing, a blast from the past, nobody talks on pay phones anymore – well, almost nobody. The lack of contact in most supermax, or supermax-modeled facilities these days, is predicated, dependent, prided on sterility, impenetrability, the ability to keep out the contraband, physical or otherwise. The detachment from heartstrings seemingly easier when the phone cords and video screens become not enough, for young or expectant mothers finding less and less gas money to drive out onto West I-40, to a road with a name twice changed. It is easier to forget mothers, out on mesas, instead of at tables, at bedsides, at baseball games, or 1st grade graduations, when seeing them is almost like a video game, with less excitement. Reality is twisted by visits in not only the jails to which I’ve played witness, but most every other – and don’t get me wrong, or misunderstand me, I am not pointing fingers simply reflecting on a reality, that is not virtual, instead very, very, real.

The analogies cut

Better than shaves bought by commissary.

than pencil tip to neck

soft flesh.

Stranded, broken, street lamps

in empty lots,

the sign nobody sees,

if bodies fall behind bars

do we hear them?

Those born, with stifled cries,

are taken from the arms of mothers, returning to the unit

to strap on a smile for jolly rancher glazed

congratulations! Cards, and questions about baby

toes, and middle names…

A population caught in the middle

That is recognized most on the feminine side

of incarceration;

the children.

Collateral damage in a deal gone wrong

a life not bargained for

bartered or abandoned in the night,

now offered out to the wolves of streets

that bear those, lamps.

Out…

“Lights out!” I wonder often about what goes through the mind of the first time offender, when the lights go off. I can tell you to a certain degree the thoughts of more than one sunset, or rise, witnessed on the wrong side of cinderblocks and bars – but that is simple, silly, and minute, in comparison to even a 3 ta’ 5, as one might say. I wonder… What happens in the thoughts, in the wrestling with sheets, and eyelids, to not be the first to sleep. What is the reaction to the sounds, and scratches at the sheets, by the air, the wind, the noise nobody can stop, when everything is metal and stone – at what point does one at least mouth the words, or give birth to the wish of wanting to go home. What is the “fresh fish” experience like, and although, I cannot say, I’ve been there; I like to think in writing things like these I can attest to having seen it. I’ve witnessed the gloss of fear and unpredictability killing that not so curious cat, deer in the headlights, wanderer on the pod, or stuck in a corner – I’ve seen it. I feel for those, no matter the offense, who have to realize the situation served cold.

Yours isn’t yours anymore

May be, his.

Or his,

Or theirs,

If they want it,

and you have to decide

how Bad you want to

Keep it,

because in here

All can be lost,

Quickly.

In an instant.

For instance…

“I like your shoes…”

it’s him or you,

whose giving what up,

and the first time you do,

life becomes like a broken

record,

broken bones,

and bruises.

So, builders are made

of most men.

Concrete and rebar

biceps and chest

Kevlar,

Hardened hearts and

Idle hands.

Unpredictable…

Short circuitry isolated

and ready to be live wired.

Safety pins and bars of

soap help tell stories written

In blood,

Ink,

Skin,

Steel and concrete.

Rib cages hold

Lyric sheets,

stories untold

Single simple notes

Of sad songs turned to stone.

Heart beats

On a shelf

silent…

Dormant,

dormitory living

shared showers

three hots and a cot

a battle of will

with becoming

something you’re not.

Soldado,

Fish,

Duck,

Dead Man Walking…

They all have a name,

A badge of honor

or otherwise…

A lot can be said without even

talking, it’s all in the eyes.

or what’s underneath.

Tattooed teardrops

swastikas,

it ain’t even really about hate…

Better defined as

Survival,

Gladiator schools…

“Get in the car,”

Or get left behind

Steady rollin…


CONGRATULATIONS, JOE: A New Play About For-Profit Prisons

22 Sep

Lee Irby is a playwright based in St. Petersburg, Florida. Follow Lee on his Kickstarter page to learn more about his work.

Absurdist theatre can reflect ugly truths about our existence without resorting to maudlin or overused themes. Done properly, such plays often surprise or even stun audiences by their fresh and innovative displays of a twisted reality. But absurdist works, of course, require absurdity, and for-profit prisons offer an ample supply of this commodity.

For the past twenty years, I have observed the prison-industrial complex take root in our land. As a journalist in Key West, I covered the opening of the new $35 million Monroe County Jail, which promised the citizens of the lower Keys a pathway to riches—overcrowded jails in Dade and Broward would send their inmates down, and we’d clean up on the per diem charges.

This same tableau was played out in dozens of communities across the country, even as more pressing infrastructure needs were ignored. But what could we do about it?

What came naturally to me was satire. My good friend from college had spurned the so-called “real world” to work odd jobs—tree cutting, bartending—because he had no desire to buckle under to The Man. He lived at home until he was well into his 30s, but then one day he landed a “real” job: teaching at a jail (he still does today). The trajectory of this story stayed with me for years, and I kept ruminating on what it means.

What emerged was CONGRATULATIONS, JOE, a three-act play that mocks the for-profit prison system. Each act consists of a party for Joe. First, as he lands a job at The Prison, then as he’s promoted, and finally as he is promoted to warden. Along the way Joe picks up an agent, who has big plans for Joe’s career, and a girlfriend, who may or may not be out for Joe’s job.

As Joe ascends the ranks of the prison system, he becomes increasingly unhinged and paranoid. He contracts imaginary medical problems and assumes he’s being targeted. The climax is his promotion to become a warden of a CIA-run “black box” facility in Eastern Europe. Joe is conflicted because he’d vowed never to work at The Prison, but now he’s in too deep.

CONGRATULATIONS, JOE will be premiered this summer by A Simple Theater in St. Petersburg, Florida.

Click here to watch a video with more details from the playwright.

Poets-Behind-Bars: An Opportunity for Poets Inside and Out

20 Sep

Sherry Reiter is the founding director of the Creative Righting Center in New York and the co-author of Writing Away the Demons.

“Writing has made me feel like a human being again.”

Participant in the Poets-Behind-Bars program, Indiana State Prison

I’m the developer of Poets-Behind-Bars – a unique long distance program in which a dozen poets/inmates at Indiana State Prison (maximum security) are matched with either a poet or poetry therapy trainee who “coaches” or mentors the writing of the poet. It is a project born out of The Creative Righting Center. As suggested by the term “Creative Righting,” the chief goal is to achieve emotional balance, a sense of well-being, and a unique expression of individuality through writing. A great poetry therapy pioneer, Dr. Art Lerner, often stated, “The accent in a poetry workshop is on the poem, while the accent in a poetry therapy session is on the individual” (Lerner, 1993, p. 169). Poets-Behind-Bars is different than a class in poetry where the aesthetic product of the poem is of primary importance. The volunteers/trainees who serve as writing mentors serve a dual function — they are writers who are trained in the art of poetry as well as a respect for creativity and the unique expression and psychological well-being of the person. We function as educators of the arts, not as therapists.

There is a well-established precedent of the power and value of poetry in prisons. In the past ten years there have been numerous fearless poets who have gone into prison and published the work that resulted. These include Disguised As A Poem: My Years Teaching at San Quentin by Judith Tannenbaum (2000), Couldn’t Keep It to Myself: Testimonies from Our Imprisoned Sisters by Wally Lamb (2004) and True Notebooks: A Writer’s Year at Juvenile Hall by Mark Salzman (2004). There have been exceptional poets and teachers like Richard Shelton (2007), who was contacted by a prisoner on death row who wanted feedback regarding a poem he had written. As a result of his interchange, Shelton ended up teaching a weekly poetry group at the Arizona State Prison for the next thirty years, and shared his experience in Crossing the Yard: Thirty Years as Prison Volunteer (2009). If only there were such great talents who could go into every prison in America and do such work. There is not. That’s why Poets-Behind-Bars was created.

I received a letter from a poet in the Indiana State Prison, pleading for a writing program for himself and a group of inmates. After receiving three such letters, and thinking, “What can I do? I’m such a long distance from Indiana,” I received the message. Exactly. Long distance could be possible. This is how it is possible.

Every 2-3 weeks, an assignment gets e-mailed to a coordinator on the inside, who “launders” the communication of any personal e-mails, gives it to the poet, who has about 10 days to do the assignment via computer in the library on a disc, and return it to the inside staff person, who then e-mails it to me. I forward it to my writing coaches, have a group supervision and the mentors forward responses back to me, and I forward it to the prison. Got a headache? No, it actually does work, and has operated at Indiana State Prison for the past four years. I have a curriculum and we are slowly expanding. Perhaps at some point in the future, you will want to initiate this program in the prison where you work. I can be reached at [email protected].

“There’s no greater agony than carrying around an untold story inside yourself.” — Maya Angelou

To see the full article about Poets-Behind-Bars, please click here.

For New Mexicans: Call for Stories

16 Sep

This Prison Justice campaign initiative is a partnership between Media Literacy Project, Thousand Kites, La Plazita Institute, El Centro de Igualdad y Derechos and Young Women United.

We are asking New Mexicans to share their story about how their own life or the life of a loved one is impacted by America’s culture of incarceration.

Share your story, poem, words of encouragement, obstacles you have overcome and the reality of the effects of incarceration.

By sharing our stories and building a stronger community, we will be able to give our loved ones inside the support they need when they return.

Call 877-518-0606 to tell your story in English or 877-525-8273 in Spanish.

Developing an International Prison Arts Directory

8 Sep

A team of international researchers and arts practitioners are working to create a Prison Arts Directory online. Your ideas and advice would be greatly appreciated in helping to set up this new and exciting project.

Prison Arts Directory Online Survey

Please note: The information you share in this survey may be used in the development of the Directory. If you have any questions or would like to get in touch with the team, please email Becky Mer at [email protected].

‘Prison Photography’ on the Road: Stories Behind the Photos

6 Sep

Pete Brook is a freelance writer and photography researcher based in Seattle, WA. Following much attention to his blog, Prison Photography, Pete is launching a new project on the road.

‘Prison Photography’ on the Road is a journalism project focusing on photography, prisons, and education.

I’m going on a 12-week road-trip across America interviewing photographers who’ve documented the rise of the prison industrial complex. I’ll be meeting the most creative and celebrated photographers who, through their work in prisons, have shaped America’s visual culture and the debate on U.S. criminal justice. I’ll also be speaking to leading practitioners in the fields of prison arts, prison education, law and advocacy. I’ll be making a handful of presentations in colleges, and hopefully prisons too.

I will conduct over 40 audio interviews, publish them online and make them available free of charge for non-commercial use within the prison reform and photography communities. My writing during the trip will also be licensed under Creative Commons. I’m doing the legwork so others can enjoy the ride and use the results. It’s going to be a lot of work, but it’s going to be a lot of fun.

Between now and the new year, I’ll be working diligently to connect with non-profit organisations who can benefit from using the material created. The project may last 12 weeks, but the long-tail of content will be used in perpetuity.

If you would like to learn more, support the project, or get in touch, please visit my Kickstarter page.

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