Prison Writings in 20th-Century America

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Overview

"Harrowing in their frank detail and desperate tone, the selections in this anthology pack an emotional wallop...Should be required reading for anyone concerned about the violence in our society and the high rate of recidivism."—Publishers Weekly. Includes work by: Jack London, Nelson Algren, Chester Himes,Jack Henry Abbott, Robert Lowell, Malcolm X, Mumia Abu-Jamal, and Piri Thomas.
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Prison Writing in 20th-Century America

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Overview

"Harrowing in their frank detail and desperate tone, the selections in this anthology pack an emotional wallop...Should be required reading for anyone concerned about the violence in our society and the high rate of recidivism."—Publishers Weekly. Includes work by: Jack London, Nelson Algren, Chester Himes,Jack Henry Abbott, Robert Lowell, Malcolm X, Mumia Abu-Jamal, and Piri Thomas.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Harrowing in their frank detail and desperate tone, the more than 60 selections in this anthology of writings about the prison experience in America pack an emotional wallop. According to Wicker's outspoken foreword, "prisons and the violence and despair they symbolize... are a blot on American life and history." The U.S. penal system contains a population greater than that of New Hampshire, and even the pretense of rehabilitation was long ago subsumed by the need to punish. Beginning with accounts of the victims of Jim Crow and Black Code laws in the segregationist South and going through the contemporary journalism of Dannie Martin and Mumia Abu-Jamal, these views from behind the bars should be required reading for anyone concerned about the violence in our society and the high rate of recidivism. Franklin, in his introduction, argues that the institution of slavery has its modern counterpart in penal servitude While he sometimes seems stuck in the clichs of a New Left rhetoric, he has done a fine job of rediscovering the prison writers of the 1920s (a period of real flowering among convict writers, supported by H.L. Mencken's American Mercury magazine) like Jim Tully, Chester Himes and Ernie Booth. In this context, the more famous works of writers such as Nelson Algren, Malcolm X and Jack Henry Abbot, gain a fuller resonance. The book also highlights writers, like Piri Thomas, who are alive today but neglected. If the test of an anthology is whether it makes the reader want to pursue the works of the authors it presents, this provocative volume definitely qualifies. (June)
Beverly\ Gage
I'd rather read one page by a man who had been in Hell than all of Dante," writer Jim Tully once intoned. If any single ideal necessitates an anthology like Prison Writing in 20th-Century America, it's this belief that personal experience inspires uniquely powerful literature. By their own accounts, each of the three dozen authors excerpted in this new collection has taken a trip to hell by way of prison -- and lived to write about it. Their vigorous and often surprising stories, essays and poems indict as well as humanize the taxpayer-funded underworld of the American criminal justice system.

As defined here by editor H. Bruce Franklin, the term "prison writing" includes anything written by a prisoner about prison -- often but not always written in prison. As Franklin notes in his introduction, this definition excludes much of what is written behind bars. O. Henry, for instance, wouldn't be considered a "prison writer" although he honed his skills at the Ohio State Penitentiary. On the whole, however, the anthology's criteria yield a remarkable variety of pieces from the famous once-incarcerated: Jack London, who spent a month behind bars for vagabondage; Robert Lowell, who did a year for resisting the World War II draft; Malcolm X, who got seven years for burglary; and Nelson Algren, who cooled his heels for a month after stealing a typewriter. The range, style and substance even among these four almost obscures the fact that they're all writing about the same basic institution. Lowell, for instance, offers a quietly beautiful account of the execution of a prisoner: "Flabby, bald, lobotomized,/he drifted in a sheepish calm,/where no agonizing reappraisal/jarred his concentration on the electric chair." By contrast, Malcolm X polemicizes against prison's inhumanity: "Any person who claims to have deep feeling for other human beings should think a long, long time before he votes to have other men kept behind bars -- caged."

While the more famous authors generally live up to their reputations, much of the most creative and insightful writing in the collection can be found in the works of the less well-established. Iceberg Slim (Robert Beck) offers a scorchingly complex portrait of a newly politicized pimp who's trying to quit the life without angering his ex-whore: "She didn't know I was determined not to join that contemptible group of aging pimps I had seen through the years and pitied as they went their pathetic way with a wild dream of new glory and a big fast stable of young freak mud kickers."

Like Slim and many of the other authors in the anthology, Patricia McConnel explores the private fantasies that are the stuff of survival behind bars. In "Sing Soft, Sing Loud," McConnel invokes a prisoner's dream of "all them alkies and junkies and hookers and boosters raising the jailhouse roof with song ... Of course I know not even all of us singing at the top of our lungs woulda changed a goddam thing in that goddam jail, but it tickles me to think of it."

For all of the importance of a collection like this, though, there's something disorienting about reading any single work as an example of "prison writing." The label -- for better and for worse -- changes the work. Lowell's Memories of West Street and Lepke read in the context of a dozen Lowell poems, for instance, is an entirely different creature from that same poem read alongside other works on prison or on draft resistance. Similarly, The Autobiography of Malcolm X read as a prison work is different from The Autobiography of Malcolm X read as autobiography.

On an individual level, it is a gross underestimation of these authors' talents to label them simply "prison writers," subtly implying that their personal experience of prison is the most important aspect of their work. Yet the anthology itself is undeniably powerful. The combined eloquence of these authors evokes the eternal sameness and the vast diversity of prison experience as no single author could. As Tom Wicker points out in the book's foreword, prisons are meant "to keep us out as well as them in." Prison Writing in 20th-Century America allows us all a chance to peer inside -- and to decide whether we like what we see. --Salon Sept. 1, 1998

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Product Details

  • ISBN-13: 9780140273052
  • Publisher: Penguin Publishing Group
  • Publication date: 6/28/1998
  • Pages: 384
  • Sales rank: 654,561
  • Product dimensions: 5.15 (w) x 7.80 (h) x 0.83 (d)

Meet the Author

Tom Wicker covered American politics at The New York Times from 1960 to the early 1990s, when he succeeded Arthur Krock as writer of the “In the Nation” column. He is the author of several books of nonfiction, including One of Us: Richard Nixon and the American Dream, and JFK and LBJ, as well as several novels.
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Table of Contents

Acknowledgments
Foreword by Tom Wicker
Introduction
From Plantation to PenitentiaryPlantation Prison
Autobiography of an Imprisoned Peon (1904)Songs of the Prison Plantation
"Go Down Old Hannah"
"Midnight Special"
"Easy Rider"
The Early Modern American PrisonJack London
"'Pinched': A Prison Experience" and "The Pen: Long Days in a County Penitentiary" (1907)Donald Lowrie
from My Life in PrisonAgnes Smedley
"Cell Mates"Kate Richards O'Hare
from Crime and CriminalsJim Tully
"A California Holiday"Ernest Booth
"Ladies in Durance Vile"Chester Himes
"To What Red Hell?"Nelson Algren
"El Presidente de Méjico" (1947)Robert Lowell
"Memories of West Street and Lepke" (1959)The Movement and the PrisonMalcolm X
from The Autobiography of Malcolm XGeorge Jackson from Soledad Brother (1970)Iceberg Slim (Robert Beck)
from The Naked Soul of Iceberg Slim (1971)Mshaka (Willie Monroe)
"Formula for Attica Repeats" (1974)Piri Thomas
from Seven Long Times (1974)Jack Henry Abbott
from In the Belly of the Beast (1981)Assata Shakur
from Assata (1987)The Literary RenaissanceMalcolm Braley
from On the Yard (1967)Etheridge Knight
"The Warden Said to Me the Other Day" (1968)
"Hard Rock Returns to Prison from the Hospital for the Criminal Insane" (1968)
For Freckle-Faced Gerald" (1968)Paul Mariah
"Quarry/Rock: A Reality Poem in the Tradition of Genet" (1969)
"Always We Watch Them" (1970)
Shakedown and More" (1971)Norma Stafford
"In Santa Cruz" (1972)
"The Gone One" (1973)William Wantling
from "Sestina to San Quentin" (1973)
"Poetry" (1973)
"Who's Bitter?" (1973)Michael Hogan
"Spring" (1975)
"Confessions of a Jailhouse Lawyer" (1975)Carolyn Baxter
"Lower Court" (1979)
"35 Years a Correctional Officer" (1979)
"On Being Counted" (1979)Jimmy Santiago Baca
"The New Warden" (1979)
"The County Jail" (1979)
"I Applied for the Board" (1982)Jackie Ruzas
"Easy to Kill" (1975)
"The Bus Ride" (1983)Edward Bunker
from Little Boy Blue (1981)Nathan C. Heard
from House of Slammers (1983)Charles Culhane
"Of Cold Places" (1984)
"Autumn Yard" (1985)
"First Day of Hanukkah" (1986)Patricia McConnel
"Sing Soft, Sing Loud" (1989)Kim Wozencraft
from Notes from the Country Club (1993)Jerome Washington
"Diamond Bob" (1994)
"The Blues Merchant" (1994)
"Nobody's Hoss" (1994)
"Barracuda and Sheryl" (1994)
"Shing-a-Ling and China" (1994)Kathy Boudin
"Our Skirt" (1997)
"The Call" (1997)Dannie Martin ("Red Hog")
"AIDS: The View from a Prison Cell" (1986)
"A Prescription for Torture" (1990)
"A Mount Everest of Time" (1990)Mumia Abu-Jamal
"B-Block Days and Nightmares" (1990)
"Skeleton Bay" (1993)
"Already Out of the Game"Jimmy Santiago Baca
"Past Present" (1992)
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