Posts Tagged ‘prison’
August 10, 2016 | by Max Nelson
The “unlove and unfreedom” in Johnnie B. Smith’s work songs.
Max Nelson is writing a series on prison literature.
During the thirteen years he spent jailed for murder on a Texas prison farm, Johnnie B. Smith sang work songs. In 1964, the ethnomusicologist Bruce Jackson met Smith during a trip through the state prison system to document the dwindling number of older, black prisoners who still knew the sorts of songs Smith led. He taped Smith’s renditions of a handful of standards: “Drop ’Em Down Together,” “Sure Make a Man Feel Bad,” “Poor Boy.” But Smith, Jackson soon learned, also sang songs of his own writing, stranger and more private than the ones he’d heard passed down.
These songs share a structure and melody, but they allow for a nearly limitless range of embellishments and improvisations. Their stanzas, for the most part, have four lines each—a single couplet sung in two variations. Their melody, which Smith adjusts verse by verse and song by song, is more difficult to describe. Its tempo accelerates and slows downs unexpectedly; its volume swells and falls; it changes gears rattlingly; it’s marked by disquieting pockets of silence. The shortest of these songs is over six minutes long; the longest, more than twenty-three.
At the time Jackson conducted his fieldwork, Ramsey—where Smith was held—was one of fourteen prisons in the Texas Correctional System. It comprised a sprawling farm property produced by combining five former plantations. Inmates felled trees, picked cotton, and worked the fields; the resulting products were either used within the prison or sold to cover the cost of housing the prisoners themselves. (As late as the early 1960s, the work teams were entirely segregated.) Ramsey’s inmates were, in effect, funding their own imprisonment, and for many decades black prisoners did so under conditions not much different from those of chattel slavery. The “riders” and “captains” Smith addresses across his songs were horse-mounted bosses whose brutality toward the work crews was widely known and feared. Read More »
August 8, 2016 | by Alison Kinney
La bohème, live at Attica State Correctional Facility.
Opera audiences are all the same. There are always two bald guys seated in the third row, whispering a phrase-by-phrase critique. Someone cups his ear, frustrated by the hall’s faulty acoustics. Everyone looks daggers at the miscreant whose phone interrupts an aria. And some listeners sit with their hands folded under their chins, eyes half-closed in reverie. One man perches literally on the edge of his seat, listening with his whole body; his chest seems to swell with the singers’ every breath. Afterward, I’m not surprised when he says that, before today, “I didn’t know that Latinos do opera,” but “for a brief fifteen minutes, I was up there, I was singing.”
On August 2, performers from the Glimmerglass Festival, the summer opera festival based in upstate Cooperstown, New York, hit the road for a one-hour matinee of excerpts from Giacomo Puccini’s lush, popular opera about Parisian artists, friends, and lovers, La bohème (1896). The cast waited onstage, in costume, while an audience numbering about 150 took their seats: emerging from the cellblocks, they’d walked, in double rows, in groups of no more than forty, through several barred gates into the hall. Officers armed with batons ringed their seats, forming a standing-room only section. At the conclusion of the concert, when inmates leapt to their feet for a standing ovation, two officers shifted closer together, eyeing them: the ones who’d risen sat down immediately. We were at Attica State Correctional Facility. Read More »
June 29, 2016 | by Max Nelson
The memoirs of an imprisoned suffragette.
Max Nelson is writing a series on prison literature. Read the previous entry, on John Cleland’s very erotic prison novel, here.
In 1908, when she was thirty-seven, Lady Constance Lytton took a vacation by the sea in Littlehampton. She’d accepted a friend’s offer to spend the summer at the Esperance Club, a charity meant to teach working-class women traditional English dances and folk songs. During a walk through town one day, she found a crowd gathered around “a sheep which had escaped as it was being taken to the slaughterhouse.” Watching the animal stagger around to the crowd’s amusement, she wrote,
A vision suddenly rose in my mind of what it should have been on its native mountain-side with all its forces rightly developed, vigorous and independent. There was a hideous contrast between that vision and the thing in the crowd.
The vision of the sheep comes at the start of her 1914 autobiography, Prisons and Prisoners, in a chapter titled “My Conversion.” “It seemed to reveal for me for the first time,” Lytton continued, “the position of women throughout the world.” Read More »
June 24, 2016 | by The Paris Review
Tate Modern, in London, recently showed Cemetery of Splendor, the new and wonderful movie by Apichatpong Weerasethakul. It was part of a weekend homage to the sly, metaphysical Thai filmmaker, including an all-night sequence of his complete works. Now, I am no longer young enough to watch movies all night, so I contented myself with my own home retrospective, including the wonderful bipartite movies Tropical Malady and Syndromes and a Century. In the new Tanks space at Tate Modern, which just opened this weekend, you can also see his installation Primitive, a nine-video extravaganza. There are few people thinking more rigorously, or more joyfully. —Adam Thirlwell
I was so relieved to read Tim Parks’s review of The Vegetarian, the Man Booker–winning novel by Korean Han Kang. The novel came recommended by a friend, so I persisted till the bitter end, despite grousing about every awkward sentence, every cliché, every narrative contradiction. I spent much of the first section wondering whether it was the fault of the writer or the translator. Parks was bothered by the same question and spends the space of his review examining the way content and style in the English translation work in relation to one another. He concludes that “the prose is far from an epitome of elegance, the drama itself neither understated nor beguiling, the translation frequently in trouble with register and idiom.” But for Parks, The Vegetarian isn’t merely a bad book badly translated; it’s representative of a “shared vision of what critics would like a work of ‘global fiction’ to be.” The desire to always see oneself in a story necessarily limits one’s view of the world, and seems to me to be the exact opposite reason for reading a book in translation—or any book, for that matter—in the first place. —Nicole Rudick
Just yesterday I was given two gorgeous chapbooks, both part of a series called Señal of contemporary Latin American poetry in translation. I began the first in the series—Sor Juana y otros monstruos, a dissertation (of sorts) in verse by Luis Felipe Fabre, translated by John Pluecker—this morning, and I haven’t been able to put it down. Fabre muses on the scholarship buzzing around the seventeenth-century poet Sor Juana Inés de la Cruz, tackling one assertion in particular. “Yes: Sor Juana was a monster,” he writes. It’s a claim most academics accept as true, but “where they differ / is / / on what kind of monster she was.” Was she a phoenix? A sphinx? Will she, as Fabre imagines, return at night to devour her scholars because her body has never been found? And yet, the most striking question Fabre goes on to ask is this: “What kind / of monster is it whose power / resides in language?” Whatever it is, Fabre would be one, too; Sor Juana y otros mostruos is like nothing I’ve read in a long while. —Caitlin Youngquist
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May 5, 2016 | by Max Nelson
John Cleland wrote his (very) erotic novel, Fanny Hill, in prison. What did he mean by it?
Max Nelson is writing a series on prison literature. Read the previous entry, on Merle Haggard and the long tradition of the outlaw poet, here.
John Cleland’s sentences often resemble the sexual encounters he imagined in his best-known book—a two-volume novel called Memoirs of a Woman of Pleasure, or Fanny Hill, published when he was in debtor’s prison between 1748 and 1749, reissued in a censored edition the following year, and presented in both cases as an autobiographical letter by a former courtesan named Fanny Hill. A typical Cleland sentence goes on past any moderate end point, “wedging [itself] up to the utmost extremity.” It makes unexpected, spasmodic, sometimes baffling detours, “exalted by the charm of their novelty and surprise.” It drifts so far into the ridiculous that sometimes it seems “that on earth”—as Cleland’s heroine comments in one passage about the “women of quality” she and her colleagues once wanted to resemble—“there cannot subsist anything more silly, more flat, more insipid and worthless.” But then it keeps going, escalating until it seems to have been “driven forcibly out of the power of using any art.” Read More »
April 13, 2016 | by Jonathan Wilson
My week with the late Howard Marks, drug smuggler and author.
In June 1995, on a magazine assignment that never came to fruition, I flew to Palma, Majorca, to spend a week with Howard Marks. He was just out of prison then, having served seven of a twenty-five year sentence on Racketeer Influenced and Corrupt Organizations charges at the federal penitentiary in Terre Haute, Indiana. Howard’s backstory was well known in the UK, but less so in the U.S., despite a Frontline documentary on his worldwide marijuana smuggling. As a young working-class Welsh philosophy student at Oxford, Howard had started out as a small-time dealer and, in his smart, amiable way, worked his way up the ladder to become a bona-fide drug kingpin, a Robin Hood to stoners across the British Isles. “Mr. Nice,” as one of his aliases had it, dealt only in soft drugs; today he might be an upstanding citizen of Washington or Colorado. To the everlasting chagrin of the British police, he beat the rap once at the Old Bailey—he’d been caught moving fifteen tons of dope from a fishing trawler off the Irish coast onto dry land—by offering the unimpeachable defense that he’d been working for MI6 at the time. He was not a drug smuggler, he said, but a narc. Read More »