Prison Writings Quotes

I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?

I am aware of being in a beautiful prison, from which I can only escape by writing.

Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with a strong, simple “I must,” then build your life in accordance with this necessity; your whole life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse. Then come close to Nature. Then, as if no one had ever tried before, try to say what you see and feel and love and lose... ...Describe your sorrows and desires, the thoughts that pass through your mind and your belief in some kind of beauty - describe all these with heartfelt, silent, humble sincerity and, when you express yourself, use the Things around you, the images from your dreams, and the objects that you remember. If your everyday life seems poor, don’t blame it; blame yourself; admit to yourself that you are not enough of a poet to call forth its riches; because for the creator there is not poverty and no poor, indifferent place. And even if you found yourself in some prison, whose walls let in none of the world’s sounds – wouldn’t you still have your childhood, that jewel beyond all price, that treasure house of memories? Turn your attentions to it. Try to raise up the sunken feelings of this enormous past; your personality will grow stronger, your solitude will expand and become a place where you can live in the twilight, where the noise of other people passes by, far in the distance. - And if out of this turning-within, out of this immersion in your own world, poems come, then you will not think of asking anyone whether they are good or not. Nor will you try to interest magazines in these works: for you will see them as your dear natural possession, a piece of your life, a voice from it. A work of art is good if it has arisen out of necessity. That is the only way one can judge it.

Freedom of mind is the real freedom. A person whose mind is not free though he may not be in chains, is a slave, not a free man. One whose mind is not free, though he may not be in prison, is a prisoner and not a free man. One whose mind is not free though alive, is no better than dead. Freedom of mind is the proof of one's existence.

I was most happy when pen and paper were taken from me and I was forbidden from doing anything. I had no anxiety about doing nothing by my own fault, my conscience was clear, and I was happy. This was when I was in prison.

I don’t know how to save the world. I don’t have the answers or The Answer. I hold no secret knowledge as to how to fix the mistakes of generations past and present. I only know that without compassion and respect for all of Earth’s inhabitants, none of us will survive—nor will we deserve to.

Prison always has been a good place for writers, killing, as it does, the twin demons of mobility and diversion

The aim of life is no more to control the mind, but to develop it harmoniously; not to achieve salvation here after, but to make the best use of it here below; and not to realise truth, beauty and good only in contemplation, but also in the actual experience of daily life; social progress depends not upon the ennoblement of the few but on the enrichment of democracy; universal brotherhood can be achieved only when there is an equality of opportunity - of opportunity in the social, political and individual life.— from Bhagat Singh's prison diary, p. 124

Years ago I recognized my kinship with all living things, and I made up my mind that I was not one bit better than the meanest on the earth. I said then and I say now, that while there is a lower class, I am in it; while there is a criminal element, I am of it; while there is a soul in prison, I am not free.

Selfishness is not living as one wishes to live, it is asking others to live as one wishes to live. And unselfishness is letting other people's lives alone, not interfering with them. Selfishness always aims at creating around it an absolute uniformity of type. Unselfishness recognizes infinite variety of type as a delightful thing, accepts it, acquiesces in it, enjoys it. It is not selfish to think for oneself. A man who does not think for himself does not think at all. It is grossly selfish to require of one's neighbor that he should think in the same way, and hold the same opinions. Why should he? If he can think, he will probably think differently. If he cannot think, it is monstrous to require thought of any kind from him. A red rose is not selfish because it wants to be a red rose. It would be horribly selfish if it wanted all the other flowers in the garden to be both red and roses.

Innocence has a single voice that can only say over and over again, "I didn't do it." Guilt has a thousand voices, all of them lies.

While writing is like a joyful release, editing is a prison where the bars are my former intentions and the abusive warden my own neuroticism.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

He was lovable the way a child is lovable, and he was capable of returning love with a childlike purity. If love is nevertheless excluded from his work, it's because he never quite felt that he deserved to receive it. He was a lifelong prisoner on the island of himself. What looked like gentle contours from a distance were in fact sheer cliffs. Sometimes only a little of him was crazy, sometimes nearly all of him, but, as an adult, he was never entirely not crazy. What he'd seen of his id while trying to escape his island prison by way of drugs and alcohol, only to find himself even more imprisoned by addiction, seems never to have ceased to be corrosive of his belief in his lovability. Even after he got clean, even decades after his late-adolescent suicide attempt, even after his slow and heroic construction of a life for himself, he felt undeserving. And this feeling was intertwined, ultimately to the point of indistinguishability, with the thought of suicide, which was the one sure way out of his imprisonment; surer than addiction, surer than fiction, and surer, finally, than love.

Harry moved the tip of his eagle-feather quill down the page, frowning as he looked for something that would help him write his essay, “Witch Burning in the Fourteenth Century Was Completely Pointless — discuss.

We write to heighten our own awareness of life. We write to lure and enchant and console others. We write to serenade our lovers. We write to taste life twice, in the moment and in retrospection. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth. We write to expand our world when we feel strangled, or constricted, or lonely...When I don’t write, I feel my world shrinking. I feel I am in prison. I feel I lose my fire and my color. It should be a necessity, as the sea needs to heave, and I call it breathing.

The whole family is a bunch of dangerous freaks...Most are ex-cons or junkies or deranged from inbreeding. Five have died violently, three are back in prison, two have gone insane from untreated venereal disease, and one writes book reviews.

While people argue with one another about the specifics of Freud's work and blame him for the prejudices of his time, they overlook the fundamental truth of his writing, his grand humility: that we frequently do not know our own motivations in life and are prisoners to what we cannot understand. We can recognize only a small fragment of our own, and an even smaller fragment of anyone else's, impetus.

Fueled by my inspiration, I ran across the room to steal the cup of coffee the bookshelf had taken prisoner. Lapping the black watery brew like a hyena, I tossed the empty cup aside. I then returned to the chair to continue my divine act of creation. Hot blood swished in my head as my mighty pen stole across the page.

Rosie, I'm returning to Boston tomorrow but before I go I wanted to write this letter to you. All the thoughts and feelings that have been bubbling up inside me are finally overflowing from this pen and I'm leaving this letter for you so that you don't feel that I'm putting you under any great pressure. I understand that you will need to take your time trying to decide on what I am about to say. I no what's going on, Rosie. You're my best friend and I can see the sadness in your eyes. I no that Greg isn't away working for the weekend. You never could lie to me; you were always terrible at it. Your eyes betray you time and time again. Don't pretend that everything is perfect because I see it isn't. I see that Greg is a selfish man who has absolutely no idea just how lucky he is and it makes me sick. He is the luckiest man in the world to have you, Rosie, but he doesn't deserve you and you deserve far better. You deserve someone who loves you with every single beat of his heart, someone who thinks about you constantly, someone who spends every minute of every day just wondering what you're doing, where you are, who you're with and if you're OK. You need someone who can help you reach your dreams and who can protect you from your fears. You need someone who will treat you with respect, love every part of you, especially your flaws. You should be with someone who can make you happy, really happy, dancing-on-air happy. Someone who should have taken the chance to be with you years ago instead of becoming scared and being too afraid to try. I am not scared any more, Rosie. I am not afraid to try. I no what the feeling was at your wedding - it was jealousy. My heart broke when I saw the woman I love turning away from me to walk down the aisle with another man, a man she planned to spend the rest of her life with. It was like a prison sentence for me - years stretching ahead without me being able to tell you how I feel or hold you how I wanted to. Twice we've stood beside each other at the altar, Rosie. Twice. And twice we got it wrong. I needed you to be there for my wedding day but I was too stupid to see that I needed you to be the reason for my wedding day. I should never have let your lips leave mine all those years ago in Boston. I should never have pulled away. I should never have panicked. I should never have wasted all those years without you. Give me a chance to make them up to you. I love you, Rosie, and I want to be with you and Katie and Josh. Always. Please think about it. Don't waste your time on Greg. This is our opportunity. Let's stop being afraid and take the chance. I promise I'll make you happy. All my love, Alex

We’re having another meeting tonight, if you can come,” Yaakov said. “The soldiers are watching the village very closely,” she said, speaking in a whisper. “They are on the lookout for anyone who might be involved in organizing.” Arguments continued in all corners of the room. One man vehemently warned, “Anyone involved in advancing reforms or revolution against the government could face prison or a firing squad.

Even at the time—twenty years old—I said to myself: better to go hungry, to go to prison, to be a tramp, than to sit at an office desk ten hours a day. There is no particular daring in this vow, but I have not broken it and shall not do so. The wisdom of my grandfathers sat in my head: we are born for the pleasure of work, fighting, love, we are born for that and nothing else. (Guy de Maupassant)

What’s your story? It’s all in the telling. Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story.

The things that make you a functional citizen in society - manners, discretion, cordiality - don't necessarily make you a good writer. Writing needs raw truth, wants your suffering and darkness on the table, revels in a cutting mind that takes no prisoners...

The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes connot write books. Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog. Literary experience heals the wound, without undermining the privilege, of individuality... in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad of eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.

Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

I’ve only been to jail a few times, but in several different countries, at that. No, I've only been to jail a few times. But I still claim the ability to write a "serious" novel.

I have eavesdropped with impunity on the lives of people who do not exist. I have peeped shamelessly into hearts and bathroom closets. I have leaned over shoulders to follow the movements of quills as they write love letters, wills and confessions. I have watched as lovers love, murderers murder and children play their make-believe. Prisons and brothels have opened their doors to me; galleons and camel trains have transported me across sea and sand; centuries and continents have fallen away at my bidding. I have spied upon the misdeeds of the mighty and witnessed the nobility of the meek. I have bent so low over sleepers in their beds that they might have felt my breath on their faces. I have seen their dreams.

Nobody would commit suicide if the pain of being inside herself, the agony of the sleepless, tortured hours spent watching the world get smaller and uglier, were bearable or could be relieved by other people telling her how they wanted her to feel. A depressed person is selfish because her self, the very core of who she is, will not leave her alone, and she can no more stop thinking about this self and how to escape it than a prisoner held captive by a sadistic serial killer can forget about the person who comes in to torture her everyday. Her body is brutalized by her mind. It hurts to breathe, eat, walk, think. The gross maneuverings of her limbs are so overwhelming, so wearying, that the fine muscle movements or quickness of wit necessary to write, to actually say something, are completely out of the question.

All the pride and pleasure of the world, mirrored in the dull consciousness of a fool, are poor indeed compared with the imagination of Cervantes writing his Don Quixote in a miserable prison.

War is not just the shower of bullets and bombs from both sides, it is also the shower of blood and bones on both sides.

A fiction writer weaves a fabric of lies in hopes of revealing deeper human truths.

I have always despised waiting. Waiting is a mechanism of torture used in the dungeon of time.

For a year after that was done to me I wept every day at the same hour and for the same space of time. That is not such a tragic thing as possibly it sounds to you. To those who are in prison tears are a part of every day's experience. A day in prison on which one does not weep is a day on which one's heart is hard, not a day on which one's heart is happy.

L'union libre [Freedom of Love]" My wife with the hair of a wood fire With the thoughts of heat lightning With the waist of an hourglass With the waist of an otter in the teeth of a tiger My wife with the lips of a cockade and of a bunch of stars of the last magnitude With the teeth of tracks of white mice on the white earth With the tongue of rubbed amber and glass My wife with the tongue of a stabbed host With the tongue of a doll that opens and closes its eyes With the tongue of an unbelievable stone My wife with the eyelashes of strokes of a child's writing With brows of the edge of a swallow's nest My wife with the brow of slates of a hothouse roof And of steam on the panes My wife with shoulders of champagne And of a fountain with dolphin-heads beneath the ice My wife with wrists of matches My wife with fingers of luck and ace of hearts With fingers of mown hay My wife with armpits of marten and of beechnut And of Midsummer Night Of privet and of an angelfish nest With arms of seafoam and of riverlocks And of a mingling of the wheat and the mill My wife with legs of flares With the movements of clockwork and despair My wife with calves of eldertree pith My wife with feet of initials With feet of rings of keys and Java sparrows drinking My wife with a neck of unpearled barley My wife with a throat of the valley of gold Of a tryst in the very bed of the torrent With breasts of night My wife with breasts of a marine molehill My wife with breasts of the ruby's crucible With breasts of the rose's spectre beneath the dew My wife with the belly of an unfolding of the fan of days With the belly of a gigantic claw My wife with the back of a bird fleeing vertically With a back of quicksilver With a back of light With a nape of rolled stone and wet chalk And of the drop of a glass where one has just been drinking My wife with hips of a skiff With hips of a chandelier and of arrow-feathers And of shafts of white peacock plumes Of an insensible pendulum My wife with buttocks of sandstone and asbestos My wife with buttocks of swans' backs My wife with buttocks of spring With the sex of an iris My wife with the sex of a mining-placer and of a platypus My wife with a sex of seaweed and ancient sweetmeat My wife with a sex of mirror My wife with eyes full of tears With eyes of purple panoply and of a magnetic needle My wife with savanna eyes My wife with eyes of water to he drunk in prison My wife with eyes of wood always under the axe My wife with eyes of water-level of level of air earth and fire

Originally, he'd wanted to focus his work on the convict leasing system that had stolen years off of his great-grandpa H's life, but the deeper into the research he got, the bigger the project got. How could he talk about Great-Grandpa H's story without also talking about his grandma Willie and the millions of other black people who had migrated north, fleeing Jim Crow? And if he mentioned the Great Migration, he'd have to talk about the cities that took that flock in. He'd have to talk about Harlem, And how could he talk about Harlem without mentioning his father's heroin addiction - the stints in prison, the criminal record? And if he was going to talk about heroin in Harlem in the '60s, wouldn't he also have to talk about crack everywhere in the '80s? And if he wrote about crack, he'd inevitably be writing, to, about the "war on drugs." And if he started talking about the war on drugs, he'd be talking about how nearly half of the black men he grew up with were on their way either into or out of what had become the harshest prison system in the world. And if he talked about why friends from his hood were doing five-year bids for possession of marijuana when nearly all the white people he'd gone to college with smoked it openly every day, he'd get so angry that he'd slam the research book on the table of the beautiful but deadly silent Lane Reading Room of Green Library of Stanford University. And if he slammed the book down, then everyone in the room would stare and all they would see would be his skin and his anger, and they'd think they knew something about him, and it would be the same something that had justified putting his great-grandpa H in prison, only it would be different too, less obvious than it once was.

We are prisoners of our own metaphors, metaphorically speaking.

Analysts often write about the need for certain cultures not to lose face, or ever be seen to back down, but this is not just a problem in the Arab or East Asian cultures—it is a human problem expressed in different ways.

This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!" cried the Spirit, stretching out its hand towards the city. "Slander those who tell it ye! Admit it for your factious purposes, and make it worse. And bide the end!" "Have they no refuge or resource?" cried Scrooge. "Are there no prisons?" said the Spirit, turning on him for the last time with his own words. "Are there no workhouses?

...we pretend to be grown up and responsible; we are so proud and self-assured--and look at the result. The world lies in bomb dust and ruins about us.

Writing: such has been my crime ever since I was a small child. To this day writing remains my crime. Now, although I am out of prison, I continue to live inside a prison of another sort, one without steel bars. For the technology of oppression and might without justice has become more advanced, and the fetters imposed on mind and body have become invisible. The most dangerous shackles are the invisible ones, because they deceive people into believing they are free. This delusion is the new prison that people inhabit today, north and south, east and west...We inhabit the age of the technology of false consciousness, the technology of hiding truths behind amiable humanistic slogans that may change from one era to another...Democracy is not just freedom to criticize the government or head of state, or to hold parliamentary elections. True democracy obtains only when the people - women, men, young people, children - have the ability to change the system of industrial capitalism that has oppressed them since the earliest days of slavery: a system based on class division, patriarchy, and military might, a hierarchical system that subjugates people merely because they are born poor, or female, or dark-skinned.

He tells a story, and that's what I like. Does this fella tell a story? He doesn't spend twenty pages describing the colour of the sky?' 'He hasn't so far.' 'Good. Jeffrey Archer never talks about the colour of the sky and I like that in a writer. I'd say Jeffrey Archer has never even looked up at the sky his entire life.' 'Especially now that he's in prison,' I suggested.

I am like a prisoner who happens on enjoy an imaginary freedom in his dreams and who subsequently begins to suspect that he is asleep and, afraid of being awakened, conspires silently with his agreeable illusions.

What matters is what we write: that is what we are, not some puppet made up by those who talk and enclose us in a prison so different from our dreams.

It seems it's always the innocent who pay the highest price for injustice. It's seemed that way all my life.

A person is more than the worst thing he has ever done.

According to court records, during the siege at Wounded Knee, more than two hundred and fifty thousand rounds were fired at our people by U.S. marshalls, FBI agents, the tribal police, the GOONs, and white vigilantes. These boys weren't kidding. And neither were we.

Like most arts, the link between the mind and the pen can chain you like an enslaved workaholic. Even on an intended vacation you suddenly have this killer urge to record whatever the vacation may teach.

Did you know that when most people get sentenced to prison, they get care packages, money orders, even a phone call on their first day?” She clenched her jaw. “I got divorce papers.” “I told you I’d write.

Dostoevsky, too, had lived a dismal and hard life. The czar sent him to a prison camp in Siberia in 1849. Dostoevsky was accused of writing socialist propaganda. He was eventually pardoned and wrote stories to ward off his creditors. Just like in the early '70s I wrote albums to ward off mine.

I'm Writing my stoy. But i'm also plotting my escape from this prison cell. This is my plan. I will do it with words. I will write them by day. I will write them by night. I will write them on the walls, the stalls, the halls. I will write them in big bold ink on posters i hang on the concrete blocks. I will write them on little pieces of paper I stuff on the mattress and the pillow. I will write them with fingers bent and cramped from use. I will write them in blood if i have to, but only my own. And i will keep writing them, again, and again, and again, until i fill this prison cell so full of words, that the bars bend and buckle and burst because they cannot contain them And then I will be free.

Mr Moony presents his compliments to Professor Snape, and begs him to keep his abnormally large nose out of other people's business.' Snape froze. Harry stared, dumbstruck, at this message. But the map didn't stop there. More writing was appearing beneath the first. 'Mr Prongs agrees with Mr Moony, and would like to add that Professor Snape is an ugly git.' It would have been funny if the situation hadn't been so serious. And there was more... 'Mr Padfoot would like to register his astonishment that an idiot like that ever became a Professor.' Harry closed his eyes in horror. When he'd reopened them, the map had had its last word. 'Mr Wormtail bids Professor Snape good day, and advises him to wash his hair, the slimeball.

What do prisoners do? Write, of course; even if they have to use blood as ink, as the Marquis de Sade did. The reasons they write, the exquisitely frustrating restrictions of their autonomy and the fact that no one listens to their cries, are all the reasons that mentally ill people, and even many normal people write. We write to escape our prisons.

Now, I can tell you about some women writers who truly are fantastic. One is Anna Kavan. She writes stories like I approach "Land of a Thousand Dances": she's caught in a haze and then a light, a little teeny light, come through. It could be a leopard, that light, or it could be a spot of blood. It could be anything. But she hooks onto that and spirals out. And she does it within the accessible rhythms of plot, and that's really exciting. She's not hung up with being a woman, she just keeps extending herself, keeps telescoping language and plot. Another great woman writer is Iris Sarazan, who wrote The Runaway. She considered herself a mare, a wild runaway. She was a really intelligent girl stuck in all these convents with a hungry mind. I identify with her 'cause of her hunger to go beyond herself. She wound up in prison, but she escaped and wrote some great books before kicking off. Her books aren't page after page of her beating her breast about how shitty she's been treated, they're books about her exciting telescoping plans of escape. Rhythm, great wild rhythm.... The French poet, Rimbaud, predicted that the next great crop of writers would be women. He was the first guy who ever made a big women's liberation statement, saying that when women release themselves from the long servitude of men they're really gonna gush. New rhythms, new poetries, new horrors, new beauties. And I believe in that completely. (1976 Penthouse interview)

A match as a pen Blood on the floor as ink The forgotten gauze cover as paper But what should I write? I might just manage my address This ink is strange; it clots I write you from a prison in Greece

In The Republic, Plato imagines human beings chained for the duration of their lives in an underground cave, knowing nothing but darkness. Their gaze is confined to the cave wall, upon which shadows of the world are thrown. They believe these flickering shadows are reality. If, Plato writes, one of these prisoners is freed and brought into the sunlight, he sill suffer great pain. Blinded by the glare, he is unable to seeing anything and longs for the familiar darkness. But eventually his eyes adjust to the light. The illusion of the tiny shadows is obliterated. He confronts the immensity, chaos, and confusion of reality. The world is no longer drawn in simple silhouettes. But he is despised when he returns to the cave. He is unable to see in the dark as he used to. Those who never left the cave ridicule him and swear never to go into the light lest they be blinded as well.

Power does not pardon, power punishes.

My writing is like those little carved baskets made in prisons…

He reads every book in his home but it is not enough. The country boy craves stories. He devours every poem and fable in his school and library. Still he hungers. For stories.

When the prison doors are opened, the real dragon will fly out.

If love were the only thing, I would follow you—in rags, if need be—to the world's end; for you hold my heart in the hollow of your hand! But is love the only thing? "I know people write and talk as if it were. Perhaps, for some, Fate lets it be. Ah, if I were one of them! But if love had been the only thing, you would have let the King die in his cell. Honour binds a woman too, Rudolf. My honour lies in being true to my country and my House. I don't know why God has let me love you; but I know that I must stay.

With any word, there are subconscious associations, which simply means that certain words make you think of certain things, even if you don't want to. The word 'cake,' for example, might remind you of your birthday, and the words 'prison warden' might remind you of someone you haven't seen in a very long time. The word 'Beatrice' reminds me of a volunteer organization that was swarming with corruption, and the word 'midnight' reminds me that I must keep writing this chapter very quickly or else I will probably drown.

I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}

If suddenly you do not exist, if suddenly you no longer live, I shall live on. I do not dare, I do not dare to write it, if you die. I shall live on. For where a man has no voice, there, my voice. Where blacks are beaten, I cannot be dead. When my brothers go to prison I shall go with them. When victory, not my victory, but the great victory comes, even though I am mute I must speak; I shall see it come even though I am blind. No, forgive me. If you no longer live, if you, beloved, my love, if you have died, all the leaves will fall in my breast, it will rain on my soul night and day, the snow will burn my heart, I shall walk with frost and fire and death and snow, my feet will want to walk to where you are sleeping, but I shall stay alive, because above all things you wanted me indomitable, and, my love, because you know that I am not only a man but all mankind.

Between 1990 and 2005, a new prison opened in the United States every ten days. Prison growth and the resulting “prison-industrial complex”—the business interests that capitalize on prison construction—made imprisonment so profitable that millions of dollars were spent lobbying state legislators to keep expanding the use of incarceration to respond to just about any problem. Incarceration became the answer to everything—health care problems like drug addiction, poverty that had led someone to write a bad check, child behavioral disorders, managing the mentally disabled poor, even immigration issues generated responses from legislators that involved sending people to prison. Never before had so much lobbying money been spent to expand America’s prison population, block sentencing reforms, create new crime categories, and sustain the fear and anger that fuel mass incarceration than during the last twenty-five years in the United States.

I don’t think of myself as a writer. I’m troubled and stupid like everyone else. I grew up with the streets. I have dead friends, friends in prison, friends who are prostitutes, on drugs, drunk, married to shitty men. I write because I need to write, to make sense of life. Honesty is everything to me.

It really isn’t hard to write a book that prohibits sexual slavery—you just put in a few lines like “Don’t take sex slaves!” and “When you fight a war and take prisoners, as you inevitably will, don’t rape any of them!” And yet God couldn’t seem to manage it.

I had never thought about the fact that by getting locked up, I was also imprisoning everyone who loved or cared about me.

Decisions lead to options, options to choices, choices to freedom. We all design out own reality, write our own script, build our own house...or prison...or coffin.

Time is a human affliction; not a human invention but a prison

I am like a prisoner who is trying to escape from jail by the wrong route. For all one knows, that door may stand open, although I continue to dig a tunnel with a teaspoon.

I’m destined to die in a particular way, when I choose. I decide that my own death must involve an act of the will — I resolve it within me, in my very soul.

The mind is a prison. And when we write the noise is distilled and alchemised, and the self can find a way out, which I think is what love is – the escape of the self from the self.

Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me — the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art. The artist is the only one who knows the world is a subjective creation, that there is a choice to be made, a selection of elements. It is a materialization, an incarnation of his inner world. Then he hopes to attract others into it, he hopes to impose this particular vision and share it with others. When the second stage is not reached, the brave artist continues nevertheless. The few moments of communion with the world are worth the pain, for it is a world for others, an inheritance for others, a gift to others, in the end. When you make a world tolerable for yourself, you make a world tolerable for others. We also write to heighten our own awareness of life, we write to lure and enchant and console others, we write to serenade our lovers. We write to taste life twice, in the moment and in retrospection.. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth, we write to expand our world, when we feel strangled, constricted, lonely. We write as the birds sing. As the primitive dance their rituals. If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don't write. Because our culture has no use for any of that. When I don't write I feel my world shrinking. I feel I am in prison. I feel I lose my fire, my color. It should be a necessity, as the sea needs to heave. I call it breathing.

You stole five cars. Instead of going into prison or juvenile detention, you endured nothing more than volunteer work. Now that you are paying back your legal fees, which were not inconsiderable, perhaps you need to suffer more in your service. It's good for the soul." "Suffering is good for the soul? You're sitting in your cute little office drinking your gross-ass tea that smells like bacon-" "It's Lapsang souchong." "It's disgusting. You're drinking disgusting tea and writing homilies in your room-temperature office while I"m dying in there. I don't see you suffering." "I have suffered. My suffering has ended." "Did you find Jesus?" "No, I found you.

Yet for quixotic reasons--namely, that I enjoyed writing obits--I had decided to scale back on articles about city life in order to write exclusively about the city's dead. For even less money. It was a strange and inexplicable career move.

The Shah stayed on the throne until 1979, when he fled Iran to escape the Islamic revolution. Since then, this old and great civilization has been discussed mostly in connection with fundamentalism, fanaticism, and terrorism. As an Iranian who has lived more than half of my life in Iran, I know that this image is far from the truth. This is why writing "Persepolis" was so important to me. I believe that an entire nation should not be judged by the wrongdoings of a few extremists. I also don't want those Iranians who lost their lives in prisons defending freedom, who died in the war against Iraq, who suffered under various repressive regimes, or who were forced to leave their families and flee their homeland to be forgotten. One can forgive but one should never forget.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don't know where it will take me, because I don't know anything. I could see this inn as a prison, for I'm compelled to wait in it; I could see it as a social center, for it's here that I meet others. But I'm neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlors, from where their songs and voices conveniently drift out here to me. I'm sitting at the door, feasting my eyes and ears on the colors and sounds of the landscape, and I softly sing - for myself alone - wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I'm given and the soul I'm given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don't read it, or are not entertained, that's fine too.

Writing about the spiritual life is like making prints from negatives...Often it is the dark forest that makes us speak about the open field. Frequently prison makes us think about freedom, hunger helps us to appreciate food, and war gives us words for peace. Not seldom are our vision of the future born out of the sufferings of the present and our hope for others out of our own despair. Only few "happy endings" make us happy but often someone's careful ad honest articulation of the ambiguities, uncertainties, and painful conditions of life gives us new hope. The paradox is indeed that new life is born out of the pains of the old.

Advent is the time of promise; it is not yet the time of fulfillment. We are still in the midst of everything and in the logical inexorability and relentlessness of destiny.…Space is still filled with the noise of destruction and annihilation, the shouts of self-assurance and arrogance, the weeping of despair and helplessness. But round about the horizon the eternal realities stand silent in their age-old longing. There shines on them already the first mild light of the radiant fulfillment to come. From afar sound the first notes as of pipes and voices, not yet discernable as a song or melody. It is all far off still, and only just announced and foretold. But it is happening, today.

In an isolated region from Iran there is this wall tower, windowless, doorless, not very tall. In its only room with arched walls and the stamped earth as its floor, there’s a wooden table and a bench. In this round cell a man that looks like me is writing in signs that i don’t understand a long poem about a man who in another round cell is writing a poem about a man in another round cell. Endless series; nobody will ever read what prisoners write.

The dead are immune from our prison of Time. The distance between the living and dead may be vast, but the space of Time the dead experience when they are reunited with their loved ones is only paper-thin.

In Santiago, the capital of the kingdom of Chile, at the moment of the great earthquake of 1647 in which many thousands lost their lives, a young Spaniard called Jeronimo Rugera was standing beside one of the pillars in the prison to which he had been committed on a criminal charge, and he was about to hang himself.

Doing time creates a demented darkness of my own imagination.... Doing time does this thing to you. But, of course, you don't do time. You do without it. Or rather, time does you. Time is a cannibal that devours the flesh of your years day by day, bite by bite.

[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises.

Don’t worry, we can write notes to each other when Edna’s not looking,” Oriel whispered to him. Ariana made a disapproving sound, and her young son sent her a sheepish look. “Um, during our break,” Oriel quickly added.

We would prefer to say that such people cannot exist, that there aren't any," writes Solzhenitsyn. "To do evil a human being must first of all believe that what he's doing is good, or else that it's a well-considered act in conformity with natural law." This is the foundation of the Dream -- its adherents must not just believe in it but believe that it is just, believe that their possession of the Dream is the natural result of grit, honor, and good works. There is some passing acknowledgment of the bad old days, which, by the way, we're not so bad as to have any ongoing effect on our present. The mettle that it takes to look away from the horror of our prison system, from police forces transformed into armies, from the long war against the black body, is not forged overnight. This is the practiced habit of jabbing out one's eyes and forgetting the work of one's hands. To acknowledge these horrors means turning away from the brightly rendered version of your country as it has always declared itself and turning toward something murkier and unknown. It is still too difficult for most Americans to do this. But that is your work. It must be, if only to preserve the sanctity of your mind.

Ah! but a man cannot be held to write down in cold blood the wild and black thoughts that storm his brain when an uncontrolled passion has battered a breach for them. Yet, unless he sets up as a saint, he need not hate himself for them. He is better employed, as it humbly seems to me, in giving thanks that power to resist was given to him ....

While my chosen form of story-writing is obviously a special and perhaps a narrow one, it is none the less a persistent and permanent type of expression, as old as literature itself. There will always be a certain small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us, and which things like deep woods, fantastic urban towers, and flaming sunsets momentarily suggest.

Even as it clouds our corporeal vision, intoxication clarifies our spiritual vision. The mind, set free from the heavy bondage of the body, flees away like a prisoner whose guard has fallen asleep, leaving the keys at the prison gate.

While people argue with one another about the specifics of Freud’s work and blame him for the prejudices of his time, they overlook the fundamental truth of his writing, his grand humility: that we frequently do not know our own motivations in life and are prisoners to what we cannot understand.

The presence of my mother / She is always present.

Books and all forms of writing have always been objects of terror to those who seek to suppress truth.

In his classic The Outermost House, American naturalist Henry Beston writes that animals “are not brethren, they are not underlings” but beings “gifted with extensions of the senses we have lost or never attained, living by voices we shall never hear.” They are, he writes, “other nations, caught with ourselves in the net of life and time, fellow prisoners of the splendor and travail of the earth.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I’m given and the soul I was given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don’t read it, or are not entertained, that’s fine too

Cigarettes to be fetched for me from the canteen,' said Rubashov. 'Have you got prison vouchers?' 'My money was taken from me on my arrival,' said Rubashov. 'Then you must wait until it has been changed for vouchers.' 'How long will that take in this model establishment of yours?' asked Rubashov. 'You can write a letter of complaint,' said the old man. 'You know quite well that I have neither paper nor pencil,' said Rubashov. 'To buy writing materials you have to have vouchers,' said the warder.

My only one! In your last letter "My head aches my heart is stunned!" you say. "If they hang you, if I lose you;" you say; "I can't live!" You'll live my dearest wife, like a black smoke in the wind my memory will vanish; you'll live, the red-haired sister of my heart at most one year it lasts in the twentieth century the grief of death.. Death a dead body swinging on a rope. My heart doesn't accept such a death.. But be sure that, my love, if some pitiable gypsy's hairy black spider like hand slips the rope around my neck, to see the fear in my blue eyes they'll look in vain at Nâzım! And I, in the twilight of my last morning, shall see my friends and you, and carry only the grief of an unfinished song to the soil... My wife! Good hearted, golden coloured, with eyes sweeter than honey, my bee; why did I write you that they want to hang me, the trial is in the first step and they don't pluck like a turnip the head of a man. Come, forget them all. These are so far away probabilities. If you have some money buy me a flannel underwear, my sciatica is acting up. And don't forget that always there should be good thoughts in the mind of a prisoner's wife.

My darling Julie, I know you'll never see this letter, but it helps to write to you every day. It keeps you close to me. G-d, I miss you so. You haunt every hour of my life. I wish I'd never met you. No-I don't mean that! What good would my life be without my memories of you to make me smile. I keep wondering if you're happy. I want you to be. I want you to have a glorious life. That's why I couldn't say the things I knew you wanted to hear when we were together. I was afraid if I did, you'd wait for me for years. I knew you wanted me to say I loved you. Not saying that to you was the only unselfish thing I did in Colorado, and I now I regret even that. I love you, Julie. Christ, I love you so much. I'd give up all my life to have one year with you. Six months. Three. Anything. You stole my heart in just a few days, darling, but you gave me your heart, too. I know you did- I could see it in your eyes every time you looked at me. I don't regret the loss of my freedom any more or rage at the injustice of the years I spent in prison. Now, my only regret is that I can't have you. You're young, and I know you'll forget about me quickly and go on with your own life. That's exactly what you should do. It's what you must do. I want you to do that, Julie. That's such a lousy lie. What I really want is to see you again, to hold you in my arms, to make love to you over and over again until I've filled you so completely that there's no room left inside of you for anyone but me, ever. I never thought of sexual intercourse as 'making love' until you. You never knew that. .... I wish I had time to write you a better letter or that I'd kept one of the others I've written so I could send that instead. They were all much more coherent than this one. I won't send another letter to you, so don't watch for one. Letters will make us both hope and dream, and if I don't stop doing that, I will die of wanting you. Before I go--I see from the newspapers that Costner has a new movie coming out in the States. If you dare to start fantasizing over Kevin after you see it, I will haunt you for the rest of your life. I love you, Julie. I loved in Colorado. I love you here, where I am. I will always love you. Everywhere. Always.

Where there is Sorrow there is holy ground. Some day you will realise what that means. You will know nothing of life till you do. Robbie, and natures like his, can realise it. When I was brought down from my prison to the Court of Bankruptcy between two policemen, Robbie waited in the long dreary corridor, that before the whole crowd, whom an action so sweet and simple hushed into silence, he might gravely raise his hat to me, as handcuffed and with bowed head I passed him by. Men have gone to heaven for smaller things than that.

J. R. R. Tolkien, undisputedly a most fluent speaker of this language, was criticized in his day for indulging his juvenile whim of writing fantasy, which was then considered—as it still is in many quarters— an inferior form of literature and disdained as mere “escapism.” “Of course it is escapist,” he cried. “That is its glory! When a soldier is a prisoner of war it is his duty to escape—and take as many with him as he can.” He went on to explain, “The moneylenders, the knownothings, the authoritarians have us all in prison; if we value the freedom of the mind and soul, if we’re partisans of liberty, then it’s our plain duty to escape, and to take as many people with us as possible.

Should I, too, prefer the title of 'non-Jewish Jew'? For some time, I would have identified myself strongly with the attitude expressed by Rosa Luxemburg, writing from prison in 1917 to her anguished friend Mathilde Wurm: What do you want with these special Jewish pains? I feel as close to the wretched victims of the rubber plantations in Putamayo and the blacks of Africa with whose bodies the Europeans play ball… I have no special corner in my heart for the ghetto: I am at home in the entire world, where there are clouds and birds and human tears. An inordinate proportion of the Marxists I have known would probably have formulated their own views in much the same way. It was almost a point of honor not to engage in 'thinking with the blood,' to borrow a notable phrase from D.H. Lawrence, and to immerse Jewishness in other and wider struggles. Indeed, the old canard about 'rootless cosmopolitanism' finds a perverse sort of endorsement in Jewish internationalism: the more emphatically somebody stresses that sort of rhetoric about the suffering of others, the more likely I would be to assume that the speaker was a Jew. Does this mean that I think there are Jewish 'characteristics'? Yes, I think it must mean that.

The only true joy on earth,” writes Merton, “is to escape from the prison of our own false-self, and enter by love into union with the Life Who dwells and sings within the essence of every creature and in the core of our own souls.

Badreya whispered in her ear, “The price of freedom is high, Bodour, and there is no writing without freedom. Break your chains, Bodour, break free of your prison and reach out for the forbidden tree. If you eat from it, you will not die, for knowledge leads you to life and not to death. You will live forever.

The history of man is simply the history of slavery, of injustice and brutality, together with the means by which he has, through the dead and desolate years, slowly and painfully advanced. He has been the sport and prey of priest and king, the food of superstition and cruel might. Crowned force has governed ignorance through fear. Hypocrisy and tyranny—two vultures—have fed upon the liberties of man. From all these there has been, and is, but one means of escape—intellectual development. Upon the back of industry has been the whip. Upon the brain have been the fetters of superstition. Nothing has been left undone by the enemies of freedom. Every art and artifice, every cruelty and outrage has been practiced and perpetrated to destroy the rights of man. In this great struggle every crime has been rewarded and every virtue has been punished. Reading, writing, thinking and investigating have all been crimes. Every science has been an outcast. All the altars and all the thrones united to arrest the forward march of the human race. The king said that mankind must not work for themselves. The priest said that mankind must not think for themselves. One forged chains for the hands, the other for the soul. Under this infamous regime the eagle of the human intellect was for ages a slimy serpent of hypocrisy. The human race was imprisoned. Through some of the prison bars came a few struggling rays of light. Against these bars Science pressed its pale and thoughtful face, wooed by the holy dawn of human advancement. Bar after bar was broken away. A few grand men escaped and devoted their lives to the liberation of their fellows.

Here one comes upon an all-important English trait: the respect for constituitionalism and legality, the belief in 'the law' as something above the state and above the individual, something which is cruel and stupid, of course, but at any rate incorruptible. It is not that anyone imagines the law to be just. Everyone knows that there is one law for the rich and another for the poor. But no one accepts the implications of this, everyone takes for granted that the law, such as it is, will be respected, and feels a sense of outrage when it is not. Remarks like 'They can't run me in; I haven't done anything wrong', or 'They can't do that; it's against the law', are part of the atmosphere of England. The professed enemies of society have this feeling as strongly as anyone else. One sees it in prison-books like Wilfred Macartney's Walls Have Mouths or Jim Phelan's Jail Journey, in the solemn idiocies that take places at the trials of conscientious objectors, in letters to the papers from eminent Marxist professors, pointing out that this or that is a 'miscarriage of British justice'. Everyone believes in his heart that the law can be, ought to be, and, on the whole, will be impartially administered. The totalitarian idea that there is no such thing as law, there is only power, has never taken root. Even the intelligentsia have only accepted it in theory. An illusion can become a half-truth, a mask can alter the expression of a face. The familiar arguments to the effect that democracy is 'just the same as' or 'just as bad as' totalitarianism never take account of this fact. All such arguments boil down to saying that half a loaf is the same as no bread. In England such concepts as justice, liberty and objective truth are still believed in. They may be illusions, but they are powerful illusions. The belief in them influences conduct,national life is different because of them. In proof of which, look about you. Where are the rubber truncheons, where is the caster oil? The sword is still in the scabbard, and while it stays corruption cannot go beyond a certain point. The English electoral system, for instance, is an all but open fraud. In a dozen obvious ways it is gerrymandered in the interest of the moneyed class. But until some deep change has occurred in the public mind, it cannot become completely corrupt. You do not arrive at the polling booth to find men with revolvers telling you which way to vote, nor are the votes miscounted, nor is there any direct bribery. Even hypocrisy is powerful safeguard. The hanging judge, that evil old man in scarlet robe and horse-hair wig,whom nothing short of dynamite will ever teach what century he is living in, but who will at any rate interpret the law according to the books and will in no circumstances take a money bribe,is one of the symbolic figures of England. He is a symbol of the strange mixture of reality and illusion, democracy and privilege, humbug and decency, the subtle network of compromises, by which the nation keeps itself in its familiar shape.

I have closed my study door on the world and shut myself away with people of my imagination. For nearly sixty years I have eavesdropped with impunity on the lives of people who do not exist. I have peeped shamelessly into hearts and bathroom closets. I have leaned over shoulders to follow the movements of quills as they write love letters, wills and confessions. I have watched as lovers love, murderers murder and childern play their make-believe. Prisons and brothels have opened their doors to me; galleons and camel trains have transported me across sea and sand; centuries and continents have fallen away at my bidding. I have spied upon the misdeeds of the mighty and witnessed the nobility of the meek. I have bent so low over sleepers in their beds that they might have felt my breath on their faces. I have seen their dreams.

Now in speaking like this, it doesn’t mean that we’re anti-white, but it does mean we’re anti-exploitation, we’re anti-degradation, we’re anti-oppression. And if the white man doesn’t want us to be anti-him, let him stop oppressing and exploiting and degrading us.

If he's a poet, why's he in jail?" demanded a suspicious voice. Madam Chairwoman shrugged velvet shoulders. "Perhaps he writes free verse," she suggested cunningly. A stir of approval answered her. Mice are all for people being free, so that they too can be freed form their eternal task of cheering prisoners--so that they can stay snug at home, nibbling the family cheese, instead of sleeping out in damp straw on a diet of stale bread.

Set a pen to a dream, and the colour drains from it. The ink with which we write seems diluted with something holding too much of reality, and we find that after all we cannot delineate the incredible memory. It is as if our inward selves, released from the bonds of daytime and objectivity, revelled in prisoned emotions which are hastily stifled when we translate them. In dreams and visions lie the greatest creations of man, for on them rests no yoke of line or hue. Forgotten scenes, and lands more obscure than the golden world of childhood, spring into the sleeping mind to reign until awakening puts them to rout.

This is one of the costs of being locked up-inmates are basically left behind by the world.

If I don't stay in and write, I feel like a prisoner.

It's when you feel worse, that's when your character comes out and the last thing you want to do is quit.

No number has ever done it for us. Not a thousand, ten thousand, a hundred thousand. Even millions don't do it, and so every single year we pay our legislators to come up with more. But no matter how many prohibitions we come up with, they never do the trick, because no prohibited behavior has ever been eliminated by passing a law against it. Every time someone is sent to prison or executed, this is said to be "sending a message" to miscreants, but for some strange reason the message never arrives, year after year, generation after generation, century after century. Naturally, we consider this to be a very advanced system.

Now writing is just working your way toward the border that the innermost secret draws around itself, and to cross that line would mean self-destruction. But writing is also an attempt to respect the borderline only for the truly innermost secret, and bit by bit to free the taboos around that core, difficult to admit as they are, from their prison of unspeakability. Not self-destruction but self-redemption. Not being afraid of unavoidable suffering.

We didn’t want the war, the others say the same thing—and yet half the world is in it all the same.” “But there are more lies told by the other side than by us,” say I; “just think of those pamphlets the prisoners have on them, where it says that we eat Belgian children. The fellows who write those lies ought to go out and hang themselves. They are real culprits.

I love words; it doesn’t matter which, it doesn’t matter about what. (I am writing down, at random, things that he said one night, while the kasaba slept in the darkness.) Conversation is a link between people, maybe the only one. That’s what an old soldier taught me, we were captured together, thrown into a prison together, chained together and bound to the same iron ring on the wall.

I admit it, I'm tired. Over the years, I've hidden away my suffering. I smile when I feel like crying. I laugh when I feel like dying. I have to stare at pictures of my children and my grandchildren to see them grow up. I miss the simplest things of ordinary life — having dinner with friends, taking walks in the woods. I miss gardening. I miss children's laughter. I miss dogs barking. I miss the feel of the rain on my face. I miss babies. I miss the sound of birds singing and of women laughing. I miss winter and summer and spring and fall. Yes, I miss my freedom. So would you.

We are not statistics. We are the people from whom you took this land by force and blood and lies. We are the people to whom you promised to pay, in recompense for all this vast continent you stole, some small pitiful pittance to assure at least our bare survival. And we are the people from whom you now snatch away even that pittance, abandoning us and your own honor without a qualm, even launching military attacks on our women and children and Elders, and targeting — illegally even by your own self-serving laws — those of us, our remaining warriors, who would dare to stand up and try to defend them. You practice crimes against humanity at the same time that you piously speak to the rest of the world of human rights! America, when will you live up to your own principles?

We charge the American Government with genocide. In clear, unequivocal terms, we charge the American government with genocide against the captive Black people in America who are perpetually under siege.

This time,” Oren said. “Skye has already tried to have you killed once. Both of them are threats. I suggest we let them cool their heels in prison at least until your emancipation goes through.” Once I was legally an adult, once I could write my own will, Ricky and Skye would stand to gain nothing by my death.

I want you to read ‘God Sees the Truth, but Waits,’ ” said Mother. “Tolstoy writes about a man, wrongly accused of a murder, who spends the rest of his life in a prison camp. Twenty-six years later, as a convict in Siberia, he meets the true murderer and has an opportunity to free himself, but chooses not to. His longing for home leaves him and he dies.” I ask Mother why this story matters to her. “Each of us must face our own Siberia,” she says. “We must come to peace within our own isolation. No one can rescue us. My cancer is my Siberia.” Suddenly, two white birds about the size of finches, dart in front of us and land on the snow.

aboriginal sin We each begin in innocence. We all become guilty. In this life you find yourself guilty of being who you are. Being yourself, that's Aboriginal Sin, the worst sin of all. That's a sin you'll never be forgiven for. We Indians are all guilty, guilty of being ourselves. We're taught guilt from the day we're born. We learn it well. To each of my brothers and sisters, I say, be proud of that guilt. You are guilty only of being innocent, of being yourselves, of being Indian, of being human. Your guilt makes you holy.

[W]ay too much treatment is given to the normal "worried well" who are harmed by it; far too little help is available for those who are really ill and desperately need it. Two thirds of people with severe depression don't get treated for it, and many suffering with schizophrenia wind up in prisons. The writing is on the wall.

I. My first thought was, he lied in every word, That hoary cripple, with malicious eye Askance to watch the workings of his lie On mine, and mouth scarce able to afford Suppression of the glee, that pursed and scored Its edge, at one more victim gained thereby. II. What else should he be set for, with his staff? What, save to waylay with his lies, ensnare All travellers who might find him posted there, And ask the road? I guessed what skull-like laugh Would break, what crutch 'gin write my epitaph For pastime in the dusty thoroughfare. III. If at his counsel I should turn aside Into that ominous tract which, all agree, Hides the Dark Tower. Yet acquiescingly I did turn as he pointed, neither pride Now hope rekindling at the end descried, So much as gladness that some end might be. IV. For, what with my whole world-wide wandering, What with my search drawn out through years, my hope Dwindled into a ghost not fit to cope With that obstreperous joy success would bring, I hardly tried now to rebuke the spring My heart made, finding failure in its scope. V. As when a sick man very near to death Seems dead indeed, and feels begin and end The tears and takes the farewell of each friend, And hears one bit the other go, draw breath Freelier outside, ('since all is o'er,' he saith And the blow fallen no grieving can amend;') VI. When some discuss if near the other graves be room enough for this, and when a day Suits best for carrying the corpse away, With care about the banners, scarves and staves And still the man hears all, and only craves He may not shame such tender love and stay. VII. Thus, I had so long suffered in this quest, Heard failure prophesied so oft, been writ So many times among 'The Band' to wit, The knights who to the Dark Tower's search addressed Their steps - that just to fail as they, seemed best, And all the doubt was now - should I be fit? VIII. So, quiet as despair I turned from him, That hateful cripple, out of his highway Into the path he pointed. All the day Had been a dreary one at best, and dim Was settling to its close, yet shot one grim Red leer to see the plain catch its estray. IX. For mark! No sooner was I fairly found Pledged to the plain, after a pace or two, Than, pausing to throw backwards a last view O'er the safe road, 'twas gone; grey plain all round; Nothing but plain to the horizon's bound. I might go on, naught else remained to do. X. So on I went. I think I never saw Such starved ignoble nature; nothing throve: For flowers - as well expect a cedar grove! But cockle, spurge, according to their law Might propagate their kind with none to awe, You'd think; a burr had been a treasure trove. XI. No! penury, inertness and grimace, In some strange sort, were the land's portion. 'See Or shut your eyes,' said Nature peevishly, It nothing skills: I cannot help my case: Tis the Last Judgement's fire must cure this place Calcine its clods and set my prisoners free.

the knife of my mind I have no present. I have only a past and, perhaps, a future. The present has been taken from me. I'm left in an empty space whose darkness I carve at with the knife of my mind. I must carve myself anew out of the razor-wire nothingness. I will know the ecstasy and the pain of freedom. I will be ordinary again. Yes, ordinary, that terrifying condition, where all is possibility, where the present exists and must be faced.

I am staring out of the window in an extremely dark mood, feeling helpless. Then a friend, a fellow artist, calls... he asks, ‘How are you?' and instead of ‘Oh, fine... and you?', I blurt out the truth: ‘Not well. Not only am I depressed, I can’t seem to work, to write; it’s as though I am paralyzed, unable to write anything... I’ve never felt this way before…' I am about to explain with further detail when he interrupts, shouting: ‘No! No, no, no! This is precisely the time when artists go to work... not when everything is fine, but in times of dread. That’s our job.' I felt foolish the rest of the morning, especially when I recalled the artists who had done their work in gulags, prison cells, hospital beds; who did their work while hounded, exiled, reviled, pilloried. And those who were executed... this is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.

Hopefully not another employee stealing credit cards, Brooke mused. Or any sort of headache-inducing “oops moment,” like the time one of the restaurant managers called to ask if he could fire a line cook after discovering that the man was a convicted murderer. “Jeez. How’d you learn that?” Brooke had asked. “He made a joke to one of the waiters about honing his cooking skills in prison. The waiter asked what he’d been serving time for, and he said, ‘Murder.’” “I bet that put an end to the conversation real fast. And yes, you can fire him,” Brooke had said. “Obviously, he lied on his employment application.” All of Sterling’s employees, regardless of job position, were required to answer whether they’d ever been convicted of a crime involving “violence, deceit, or theft.” Pretty safe to say that murder qualified. Ten minutes later, the manager had called her back. “Um . . . what if he didn’t exactly lie? I just double-checked his application, and as it turns out, he did check the box for having been convicted of a crime.” Brooke had paused at that. “And then the next question, where we ask what crime he’d been convicted for, what did he write?” “Uh . . . ‘second-degree murder.’” “I see. Just a crazy suggestion here, Cory, but you might want to start reading these applications a little more closely before making employment offers.” “Please don’t fire me.

Of course to one so modern as I am, `Enfant de mon siècle,’ merely to look at the world will be always lovely. I tremble with pleasure when I think that on the very day of my leaving prison both the laburnum and the lilac will be blooming in the gardens, and that I shall see the wind stir into restless beauty the swaying gold of the one, and make the other toss the pale purple of its plumes, so that all the air shall be Arabia for me. Linnaeus fell on his knees and wept for joy when he saw for the first time the long heath of some English upland made yellow with the tawny aromatic brooms of the common furze; and I know that for me, to whom flowers are part of desire, there are tears waiting in the petals of some rose. It has always been so with me from my boyhood. There is not a single colour hidden away in the chalice of a flower, or the curve of a shell, to which, by some subtle sympathy with the very soul of things, my nature does not answer. Like Gautier, I have always been one of those ‘pour qui le monde visible existe.

Were you sent by someone who wanted me dead? Did you sleep with a gun underneath our bed? Were you writing a book? Were you a sleeper cell spy? In fifty years, will all this be declassified? And you'll confess why you did it And I'll say, "Good riddance" 'Cause it wasn't sexy once it wasn't forbidden I would've died for your sins Instead, I just died inside And you deserve prison, but you won't get time You'll slide into inboxes and slip through the bars You crashed my party and your rental car You said normal girls were boring But you were gone by the morning You kicked out the stage lights But you're still performing And in plain sight you hid But you are what you did And I'll forget you, but I'll never forgive The smallest man who ever lived

Put 'em who threaten possessions and power together with 'em who offend our tastes in sex and dope. Those who're touched, put 'em in asylums. Pack off old ones to 'senior communities,' nursing homes. Our children? Keep'em prisoner, baby-sitter as warden. School? Good for fifteen to twenty years. Army afterward. Liberated, we live in prison. No this, no that. Kill us before we die!

Now I have more freedom than I have ever had at any time in my life, and I do only the things I always have. They were empty before, but Selina has given a meaning to them, I do them for her. I am waiting, for her - but, waiting, I think, is too poor a word for it. I am engaged with the substance of the minutes as they pass. I feel the surface of my flesh stir - it is like the surface of the sea that knows the moon is drawing near it. If I take up a book, I might as well never have seen a line of print before - books are filled, now, with messages aimed only at me. An hour ago, I found this: The blood is listening in my frame, And thronging shadows, fast and thick, Fall on my overflowing eyes... It is as if every poet who ever wrote a line to his own love wrote secretly for me, and for Selina. My blood - even as I write this - my blood, my muscle and every fibre of me, is listening, for her. When I sleep, it is to dream of her. When shadows move across my eye, I know them now for shadows of her. My room is still, but never silent - I hear her heart, beating across the night in time to my own. My room is dark, but darkness is different for me now. I know all its depths and textures - darkness like velvet, darkness like felt, darkness bristling as coir or prison wool.

an eagle's cry Listen to me! Listen! I am the Indian voice. Hear me crying out of the wind, Hear my crying out of the silence. I am the Indian voice. Listen to me! I speak for our ancestors. They cry out to you from the unstill grave. I speak for the children yet unborn. They cry out to you from the unspoken silence. I am the Indian voice. Listen to me! I am a chorus of millions. Hear us! Our eagle cry will not be stilled! We are your own conscience calling to you. We are you yourself crying unheard within you. Let my unheard voice be heard. Let me speak in my heart and the words be heard whispering on the wind to millions, to all who care, to all with ears to hear and hearts to beat as one with mine. Put your ear to the earth, and hear my heart beating there. Put your ear to the wind and hear me speaking there. We are the voice of the earth, of the future, of the Mystery. Hear us!

I wanted to sit still for a moment, to escape my job as a traveling, screaming, black-t-shirt salesman and just read and write for a bit. For quite some time, I had been longing to erect a barrier between myself and that noisy, hectic life; just long enough to catch my breath and relax without being “Randy from lamb of god.” I never imagined that that barrier would unexpectedly arrive in the shape of prison walls.

The problem is that moderates of all faiths are committed to reinterpreting, or ignoring outright, the most dangerous and absurd parts of their scripture—and this commitment is precisely what makes them moderates. But it also requires some degree of intellectual dishonesty, because moderates can’t acknowledge that their moderation comes from outside the faith. The doors leading out of the prison of scriptural literalism simply do not open from the inside. In the twenty-first century, the moderate’s commitment to scientific rationality, human rights, gender equality, and every other modern value—values that, as you say, are potentially universal for human beings—comes from the past thousand years of human progress, much of which was accomplished in spite of religion, not because of it. So when moderates claim to find their modern, ethical commitments within scripture, it looks like an exercise in self-deception. The truth is that most of our modern values are antithetical to the specific teachings of Judaism, Christianity, and Islam. And where we do find these values expressed in our holy books, they are almost never best expressed there. Moderates seem unwilling to grapple with the fact that all scriptures contain an extraordinary amount of stupidity and barbarism that can always be rediscovered and made holy anew by fundamentalists—and there’s no principle of moderation internal to the faith that prevents this. These fundamentalist readings are, almost by definition, more complete and consistent—and, therefore, more honest. The fundamentalist picks up the book and says, “Okay, I’m just going to read every word of this and do my best to understand what God wants from me. I’ll leave my personal biases completely out of it.” Conversely, every moderate seems to believe that his interpretation and selective reading of scripture is more accurate than God’s literal words. Presumably, God could have written these books any way He wanted. And if He wanted them to be understood in the spirit of twenty-first-century secular rationality, He could have left out all those bits about stoning people to death for adultery or witchcraft. It really isn’t hard to write a book that prohibits sexual slavery—you just put in a few lines like “Don’t take sex slaves!” and “When you fight a war and take prisoners, as you inevitably will, don’t rape any of them!” And yet God couldn’t seem to manage it. This is why the approach of a group like the Islamic State holds a certain intellectual appeal (which, admittedly, sounds strange to say) because the most straightforward reading of scripture suggests that Allah advises jihadists to take sex slaves from among the conquered, decapitate their enemies, and so forth.

It even reached a point of such confusion that men and women were imprisoned in the same cells and used the latrine bucket in each other's presence—who cared about those niceties? Give up your gold, vipers! The interrogators did not write up charge sheets because no one needed their papers. And whether or not a sentence would be pasted on was of very little interest. Only one thing was important: Give up your gold, viper! The state needs gold and you don't. The interrogators had neither voice nor strength left to threaten and torture; they had one universal method: feed the prisoners nothing but salty food and give them no water. Whoever coughed up gold got water! One gold piece for a cup of fresh water! People perish for cold metal.

On the other hand, less rigorous conditions of imprisonment have sometimes proved fruitful. Being cut off from the distractions of ordinary life encourages the prisoner with creative potential to call upon the resources of his imagination. As we shall see, a variety of authors have begun writing in prison, where this has been allowed; or have passed through periods of spiritual and mental turmoil which have later found expression in their works.

You know, I think some people fear that if they like the wrong kind of book, it will reflect poorly on them. It can go with genre, too. Somebody will say, “I won’t read science fiction, or I won’t read young adult novels”—all of those genres can become prisons. I always find it funny when the serious literary world will make a little crack in its wall and allow in one pet genre writer and crown them and say, “Well Elmore Leonard is actually a real writer.” Or “Stephen King is actually a really good writer.” Generally speaking, you know you’re being patronized when somebody uses the word “actually

It was nearly midnight, and he was lying on his stomach in bed, the blankets drawn right over his head like a tent, a flashlight in one hand and a large leather-bound book (A History of Magic by Bathilda Bagshot) propped open against the pillow. Harry moved the tip of his eagle-feather quill down the page, frowning as he looked for something that would help him write his essay, “Witch Burning in the Fourteenth Century Was Completely Pointless — discuss.

Don’t fight such a current if it feels right. Trust your material if it’s taking you into terrain you didn’t intend to enter but where the vibrations are good. Adjust your style accordingly and proceed to whatever destination you reach. Don’t become the prisoner of a preconceived plan. Writing is no respecter of blueprints.

The Dream House was never just the Dream House. It was, in turn, a convent of promise (herb garden, wine, writing across the table from each other), a den of debauchery (fucking with the windows open, waking up with mouth on mouth, the low, insistent murmur of fantasy), a haunted house (none of this can really be happening), a prison (need to get out, need to get out), and, finally, a dungeon of memory. In dreams it sits behind a green door, for reasons you have never understood. The door was not green.

That’s why I’m asking you to envision a world where men and women aren’t held hostage for their pasts, where misdeeds and mistakes don’t define you for the rest of your life. In an era of record incarcerations and a culture of violence, we can learn to love those who no longer love themselves. Together, we can begin to make things right.

Epicurus founded a school of philosophy which placed great emphasis on the importance of pleasure. "Pleasure is the beginning and the goal of a happy life," he asserted, confirming what many had long thought, but philosophers had rarely accepted. Vulgar opinion at once imagined that the pleasure Epicurus had in mind involved a lot of money, sex, drink and debauchery (associations that survive in our use of the word 'Epicurean'). But true Epicureanism was more subtle. Epicurus led a very simple life, because after rational analysis, he had come to some striking conclusions about what actually made life pleasurable - and fortunately for those lacking a large income, it seemed that the essential ingredients of pleasure, however elusive, were not very expensive. The first ingredient was friendship. 'Of all the things that wisdom provides to help one live one's entire life in happiness, the greatest by far is the possession of friendship,' he wrote. So he bought a house near Athens where he lived in the company of congenial souls. The desire for riches should perhaps not always be understood as a simple hunger for a luxurious life, a more important motive might be the wish to be appreciated and treated nicely. We may seek a fortune for no greater reason than to secure the respect and attention of people who would otherwise look straight through us. Epicurus, discerning our underlying need, recognised that a handful of true friends could deliver the love and respect that even a fortune may not. Epicurus and his friends located a second secret of happiness: freedom. In order not to have to work for people they didn't like and answer to potentially humiliating whims, they removed themselves from employment in the commercial world of Athens ('We must free ourselves from the prison of everyday affairs and politics'), and began what could best have been described as a commune, accepting a simpler way of life in exchange for independence. They would have less money, but would never again have to follow the commands of odious superiors. The third ingredient of happiness was, in Epicurus's view, to lead an examined life. Epicurus was concerned that he and his friends learn to analyse their anxieties about money, illness, death and the supernatural. There are few better remedies for anxiety than thought. In writing a problem down or airing it in conversation we let its essential aspects emerge. And by knowing its character, we remove, if not the problem itself, then its secondary, aggravating characteristics: confusion, displacement, surprise. Wealth is of course unlikely ever to make anyone miserable. But the crux of Epicurus's argument is that if we have money without friends, freedom and an analysed life, we will never be truly happy. And if we have them, but are missing the fortune, we will never be unhappy.

Language as a Prison The Philippines did have a written language before the Spanish colonists arrived, contrary to what many of those colonists subsequently claimed. However, it was a language that some theorists believe was mainly used as a mnemonic device for epic poems. There was simply no need for a European-style written language in a decentralized land of small seaside fishing villages that were largely self-sufficient. One theory regarding language is that it is primarily a useful tool born out of a need for control. In this theory written language was needed once top-down administration of small towns and villages came into being. Once there were bosses there arose a need for written language. The rise of the great metropolises of Ur and Babylon made a common written language an absolute necessity—but it was only a tool for the administrators. Administrators and rulers needed to keep records and know names— who had rented which plot of land, how many crops did they sell, how many fish did they catch, how many children do they have, how many water buffalo? More important, how much then do they owe me? In this account of the rise of written language, naming and accounting seem to be language's primary "civilizing" function. Language and number are also handy for keeping track of the movement of heavenly bodies, crop yields, and flood cycles. Naturally, a version of local oral languages was eventually translated into symbols as well, and nonadministrative words, the words of epic oral poets, sort of went along for the ride, according to this version. What's amazing to me is that if we accept this idea, then what may have begun as an instrument of social and economic control has now been internalized by us as a mark of being civilized. As if being controlled were, by inference, seen as a good thing, and to proudly wear the badge of this agent of control—to be able to read and write—makes us better, superior, more advanced. We have turned an object of our own oppression into something we now think of as virtuous. Perfect! We accept written language as something so essential to how we live and get along in the world that we feel and recognize its presence as an exclusively positive thing, a sign of enlightenment. We've come to love the chains that bind us, that control us, for we believe that they are us (161-2).

Nine Negro boys in Alabama were on trial for their lives when I got back from Cuba and Haiti. The famous Scottsboro "rape" case was in full session. I visited those boys in the death house at Kilby Prison, and I wrote many poems about them. One of those poems was: CHRIST IN ALABAMA Christ is a Nigger, Beaten and black-- O, bare your back. Mary is His Mother-- Mammy of the South, Silence your mouth. God's His Father-- White Master above, Grant us your love. Most holy bastard Of the bleeding mouth: Nigger Christ On the cross of the South.

History has seen many who claim to be deliverer and saviour of the people. They might come with force and violence and parade their might and splendour as conquerors. The pharaohs of Egypt, Sennacherib king of Assyria, Nebuchadnezzar of Babylon, Darius of Persia, Alexander the Great, Hannibal, Napoleon, Clive of India, Bismarck, the Kaiser, Hitler, Stalin. The story and scene is always the same. They claim to deliver the people from bondage and to establish justice, freedom and peace. They come in might, riding in splendour, dragging prisoners.

I hope we will not get too serious here, for seriousness is the Red Death if we let it move too freely amongst us. Its freedom is our prison and our defeat and death. A good idea should worry us like a dog. We should not, in turn, worry it into the grave, smother it with intellect, pontificate it into snoozing, kill it with the death of a thousand analytical slices.

A man of politics writes about philosophy: it could be that his "true" philosophy should be looked for rather in his writings on politics. In every personality there is one dominant and predominant activity: it is here that his thought must be looked for, in a form that is more often than not implicit and at times even in contradiction with what is professly expressed.

And I'm filled with an aching sorrow, too, for the loss to my own family because, in a very real way, I also died that day. I died to my family, to my children, to my grandchildren, to myself. I've lived out my death for more than two decades now. Those who put me here and keep me here knowing of my innocence can take grim satisfaction in their sure reward — which is being who and what they are. That's as terrible a reward as any I could imagine. I know who and what I am. I am an Indian — an Indian who dared to stand up to defend his people. I am an innocent man who never murdered anyone nor wanted to. And yes, I am a Sun Dancer. That, too, is my identity. If I am to suffer as a symbol of my people, then I suffer proudly. I will never yield.

But what is it, to be an artist? Nothing shows up the general human dislike of thinking, and man's innate craving to be comfortable, better than his attitude to this question. When these worthy people are affected by a work of art, they humbly say that that sort of thing is a 'gift.' And because in their innocence they assume that beautiful and uplifting results must have beautiful and uplifting causes, they never dream that the 'gift' in question is a very dubious affair and rests upon extremely sinister foundations. [...] Listen to this. I know a banker, grey-haired business man, who has a gift for writing stories. He employs this gift in his idle hours, and some of his stories are of the first rank. But despiteI say despite-this excellent gift his withers are by no means unwrung: on the contrary, he has had to serve a prison sentence, on anything but trifling grounds. Yes, it was actually first in prison that he became conscious of his gift, and his experiences as a convict are the main theme in all his works. One might be rash enough to conclude that a man has to be at home in some kind of jail in order to become a poet.

One of the most beautifully disturbing questions we can ask, is whether a given story we tell about our lives is actually true, and whether the opinions we go over every day have any foundation or are things we repeat to ourselves simply so that we will continue to play the game. It can be quite disorienting to find that a story we have relied on is not only not true - it actually never was true. Not now not ever. There is another form of obsolescence that can fray at the cocoon we have spun about ourselves, that is, the story was true at one time, and for an extended period; the story was even true and good to us, but now it is no longer true and no longer of any benefit, in fact our continued retelling of it simply imprisons us. We are used to the prison however, we have indeed fitted cushions and armchairs and made it comfortable and we have locked the door from the inside. The imprisoning story I identified by the time the entree was served was one I had told myself for a long time. “In order to write I need peace and quiet and an undisturbed place far from others or the possibility of being disturbed. I knew however, that if I wanted to enter the next creative stage, something had to change; I simply did not have enough free space between traveling, speaking and being a good father and husband to write what I wanted to write. The key in the lock turned surprisingly easy, I simply said to myself, “What if I acted as if it wasn’t true any more, what if it had been true at one time, but now at this stage in the apprenticeship I didn’t need that kind of insulation anymore, what if I could write anywhere and at any time?” One of the interesting mercies of this kind of questioning is that it is hard to lose by asking: if the story is still true, we will soon find out and can go back to telling it. If it is not we have turned the key, worked the hinges and walked out into the clear air again with a simple swing of the door.

Why do you think this writing of yours, this graphomania in a flimsy cave, this scribbling back and forth and up and down over the walls of what is beginning to seem like a prison, is capable of protecting anyone at all, yourself included? It’s an illusion—the belief that your doodling is a kind of armor, a kind of charm—because no one knows better than you do how fragile your tent really is. Already there’s a clomping of leather-covered feet, there’s a scratching, there’s a scrabbling, there’s a sound of rasping breath. Wind comes in. Your candle tips over and flares up and a loose tent flap catches fire, and through the widening black-edged gap, you can see the eyes of the howlers, red and shining, and the light from your burning paper shelter. But you keep writing anyway, because what else can you do?

Margaret Atwood started writing The Handmaid’s Tale in West Berlin in the spring of 1984. Like Orwell when he began Nineteen Eighty-Four, she was in her early forties and she knew exactly what she wanted to say. The novel originated with a file of newspaper cuttings she had begun collecting while living in England, covering such topics as the religious right, prisons in Iran, falling birth rates, Nazi sexual politics, polygamy and credit cards. She let these diverse observations ferment, like compost, until a story grew out of them. Her travels in East Germany and Czechoslovakia, where she experienced “the wariness, the feeling of being spied on, the silences, the changes of subject, the oblique ways in which people might convey information,” nourished the novel, too, as did her adolescent obsession with dystopias and World War Two.

Further expanding the already large class of Foucauldian apparatuses, I shall cal an apparatus literally anything that has in some way the capacity to capture, determine, intercept, model, control , or secure the gestures, behaviors, opinions, or discourses of living beings. Not only, therefore, prisons, madhouses, the panopticon, schools, confession, factories, disciplines, juridical measures, and so forth (whose connection with power is in a certain sense evident), but also the pen, writing, literature, philosophy, agriculture, cigarettes, navigation, computers, cellular telephones and - why not - language itself, which is perhaps the most ancient of apparatuses - one in which thousands and thousands of years ago a primitive inadvertently let himself be captured, probably without realizing the consequences that he was about to face.

I’m not a Democrat, I’m not a Republican, and I don’t even consider myself an American. If you and I were Americans, there’d be no problem. Those Hunkies that just got off the boat, they’re already Americans; Polacks are already Americans; the Italian refugees are already Americans. Everything that came out of Europe, every blue-eyed thing, is already an American. And as long as you and I have been over here, we aren’t Americans yet.

in such moments I have formulated my creed, wherein all is clear and holy to me. This creed is extremely simple; here it is: I believe that there is nothing lovelier, deeper, more sympathetic, more rational, more manly, and more perfect than the Saviour; I say to myself with jealous love that not only is there no one else like Him, but that there could be no one. I would even say more: If anyone could prove to me that Christ is outside the truth, and if the truth really did exclude Christ, I should prefer to stay with Christ and not with truth. I would rather not say anything more about it. And yet I don't know why certain topics may never be touched on in society, and why, if anyone does introduce them, it makes the others uncomfortable. Still, enough of it. I heard that you were desirous of travelling somewhere in the South. God grant that you may succeed in obtaining permission to do so. But will you please tell me when we shall be quite free, or at any rate as free as other people ? Perhaps only when we no longer need freedom ? For my part, I want all or nothing. In my soldier's uniform I am the same prisoner as before. I rejoice greatly that I find there is patience in my soul for quite a long time yet, that I desire no earthly possessions, and need nothing but books, the possibility of writing, and of being daily for a few hours alone. The last troubles me most. For almost five years I have been constantly under surveillance, or with several other people, and not one hour alone with myself. To be alone is a natural need, like eating and drinking ; for in that kind of concentrated communism one becomes a whole-hearted enemy of mankind. The constant companionship of others works like poison or plague; and from that unendurable martyrdom I most suffered in the last four years. There were moments in which I hated every man, whether good or evil, and regarded him as a thief who, unpunished, was robbing me of life. The most unbearable part is when one grows unjust, malignant, and evil, is aware of it, even reproves one's-self, and yet has not the power to control one's-self. I have experienced that. I am convinced that God will keep you from it. I believe that you, as a woman, have more power to forgive and to endure. Do

By banning books, the Israeli occupation deprives Palestinians of seeing beyond Gaza to the outside world and learning about that world. So, not only have Palestinians been expelled from their homes and ancestral land, not only have they been thrown into prisons, not only have their trees been cut and burned, not only have they been subject to daily killing and humiliation, not only have they been denied the right to return to their homes, but they are also denied access to knowledge and literature, besieged even inside their homes during curfews and random air raids. They are not allowed to travel freely, even through books. If one doesn’t get killed by Israel, then life must be made unbearable.

This is why I feel frustrated now when I hear people referring to suicide as a self-centered act: of course it is. Nobody would commit suicide if the pain of being inside her self, the agony of the sleepless, tortured hours spent watching the world get smaller and uglier, were bearable or could be relieved by other people telling her how they wanted her to feel. A depressed person is selfish because her self, the very core of who she is, will not leave her alone, and she can no more stop thinking about this self and how to escape it than a prisoner held captive by a sadistic serial killer can forget about the person who comes in to torture her every day. Her body is brutalized by her mind. It hurts to breathe, sleep, eat, walk, think. The gross maneuverings of her limbs are so overwhelming, so wearying, that the fine muscle movements or quickness of wit necessary to write, to actually say something, are completely out of the question.

While my library contains the works of travel writers, I have mostly searched for those who speak about their own place in the world. But the world is changing and many people have no place to call home. Some of the most important kinds of travel writing now are stories of flight, written by people who belong to the millions of asylum seekers in the world. These are stories that are almost too hard to tell, but which, once read, will never be forgotten. Some of these stories had to be smuggled out of detention centres, or were caught covertly on smuggled mobiles in snatches of calls on weak connections from remote and distant prisons. Why is this writing important? Behrouz Boochani, a Kurdish journalist and human rights campaigner who has been detained on Manus Island for over three years with no hope for release yet in sight, puts it plainly in a message to the world in the anthology Behind the Wire. It is, he wrote, ‘because we need to change our imagination’.

I’m not a man, I can’t earn a living, buy new things for my family. I have acne and a small peter. I’m not a man. I don’t like football, boxing and cars. I like to express my feeling. I even like to put an arm around my friend’s shoulder. I’m not a man. I won’t play the role assigned to me- the role created by Madison Avenue, Playboy, Hollywood and Oliver Cromwell, Television does not dictate my behavior. I’m not a man. Once when I shot a squirrel I swore that I would never kill again. I gave up meat. The sight of blood makes me sick. I like flowers. I’m not a man. I went to prison resisting the draft. I do not fight when real men beat me up and call me queer. I dislike violence. I’m not a man. I have never raped a woman. I don’t hate blacks. I do not get emotional when the flag is waved. I do not think I should love America or leave it. I think I should laugh at it. I’m not a man. I have never had the clap. I’m not a man. Playboy is not my favorite magazine. I’m not a man. I cry when I’m unhappy. I’m not a man. I do not feel superior to women I’m not a man. I don’t wear a jockstrap. I’m not a man. I write poetry. I’m not a man. I meditate on peace and love. I’m not a man. I don’t want to destroy you

Most incarcerated women—nearly two-thirds—are in prison for nonviolent, low-level drug crimes or property crimes. Drug laws in particular have had a huge impact on the number of women sent to prison. “Three strikes” laws have also played a considerable role. I started challenging conditions of confinement at Tutwiler in the mid-1980s as a young attorney with the Southern Prisoners Defense Committee. At the time, I was shocked to find women in prison for such minor offenses. One of the first incarcerated women I ever met was a young mother who was serving a long prison sentence for writing checks to buy her three young children Christmas gifts without sufficient funds in her account. Like a character in a Victor Hugo novel, she tearfully explained her heartbreaking tale to me. I couldn’t accept the truth of what she was saying until I checked her file and discovered that she had, in fact, been convicted and sentenced to over ten years in prison for writing five checks, including three to Toys “R” Us. None of the checks was for more than $150. She was not unique. Thousands of women have been sentenced to lengthy terms in prison for writing bad checks or for minor property crimes that trigger mandatory minimum sentences. The collateral consequences of incarcerating women are significant. Approximately 75 to 80 percent of incarcerated women are mothers with minor children. Nearly 65 percent had minor children living with them at the time of their arrest—children who have become more vulnerable and at-risk as a result of their mother’s incarceration and will remain so for the rest of their lives, even after their mothers come home. In 1996, Congress passed welfare reform legislation that gratuitously included a provision that authorized states to ban people with drug convictions from public benefits and welfare. The population most affected by this misguided law is formerly incarcerated women with children, most of whom were imprisoned for drug crimes. These women and their children can no longer live in public housing, receive food stamps, or access basic services. In the last twenty years, we’ve created a new class of “untouchables” in American society, made up of our most vulnerable mothers and their children.

And even if you were in some prison the walls of which let none of the sounds of the world come to your senses would you not then still have your childhood, that precious, kingly possession, that treasure-house of memories? turn your attention thither.try to raise the submerged sensations of the ample past; your personality will grow more firm, your solitude will widen and will become a dusky dwelling past which the noise of others goes by far away. And if out of this turning inward, out of this absorption into your own world verses come, then it will not occur to you to ask anyone whether they are good verses. nor will you try to interest magazines in your poems; for you will see in them your fond natural possessions, a fragment and a voice of your life.

The cool thing about being a middle-aged woman is that they asked me if I wanted the security guard inside of the room or outside of the room, and I said, “Outside.” And the guard said, “You’ll be locked in, there’ll be no way for you to get out.” And I turned around and there was 21 guys looking at me. There’s something about being a middle-aged woman that just totally… I can rock the Auntie Lynda or grandma thing now. [Impersonating an old woman] “Now, you sit down! I don’t care about those tattoos! You just sit down.” [Laughter.] I really loved it. These are the people that I would venture to say probably went to public schools, probably went to difficult public schools, and now they’re in prison. Their ability to focus and write these stories was amazing; I mean their stories are.… I think the same thing that can get somebody in prison is the same thing that could make them a really good writer. Impulse control. There’s no, “Is this a bad convenience store to rob?” [Laughter.] “Is this a bad sentence?

Exoneration of Jesus Christ If Christ was in fact God, he knew all the future. Before Him like a panorama moved the history yet to be. He knew how his words would be interpreted. He knew what crimes, what horrors, what infamies, would be committed in his name. He knew that the hungry flames of persecution would climb around the limbs of countless martyrs. He knew that thousands and thousands of brave men and women would languish in dungeons in darkness, filled with pain. He knew that his church would invent and use instruments of torture; that his followers would appeal to whip and fagot, to chain and rack. He saw the horizon of the future lurid with the flames of the auto da fe. He knew what creeds would spring like poisonous fungi from every text. He saw the ignorant sects waging war against each other. He saw thousands of men, under the orders of priests, building prisons for their fellow-men. He saw thousands of scaffolds dripping with the best and bravest blood. He saw his followers using the instruments of pain. He heard the groans—saw the faces white with agony. He heard the shrieks and sobs and cries of all the moaning, martyred multitudes. He knew that commentaries would be written on his words with swords, to be read by the light of fagots. He knew that the Inquisition would be born of the teachings attributed to him. He saw the interpolations and falsehoods that hypocrisy would write and tell. He saw all wars that would be waged, and-he knew that above these fields of death, these dungeons, these rackings, these burnings, these executions, for a thousand years would float the dripping banner of the cross. He knew that hypocrisy would be robed and crowned—that cruelty and credulity would rule the world; knew that liberty would perish from the earth; knew that popes and kings in his name would enslave the souls and bodies of men; knew that they would persecute and destroy the discoverers, thinkers and inventors; knew that his church would extinguish reason’s holy light and leave the world without a star. He saw his disciples extinguishing the eyes of men, flaying them alive, cutting out their tongues, searching for all the nerves of pain. He knew that in his name his followers would trade in human flesh; that cradles would be robbed and women’s breasts unbabed for gold. And yet he died with voiceless lips. Why did he fail to speak? Why did he not tell his disciples, and through them the world: “You shall not burn, imprison and torture in my name. You shall not persecute your fellow-men.” Why did he not plainly say: “I am the Son of God,” or, “I am God”? Why did he not explain the Trinity? Why did he not tell the mode of baptism that was pleasing to him? Why did he not write a creed? Why did he not break the chains of slaves? Why did he not say that the Old Testament was or was not the inspired word of God? Why did he not write the New Testament himself? Why did he leave his words to ignorance, hypocrisy and chance? Why did he not say something positive, definite and satisfactory about another world? Why did he not turn the tear-stained hope of heaven into the glad knowledge of another life? Why did he not tell us something of the rights of man, of the liberty of hand and brain? Why did he go dumbly to his death, leaving the world to misery and to doubt? I will tell you why. He was a man, and did not know.

What was glimpsed in Aquarius—what was envisioned, believed in, prophesied, predicted, doubted, and forewarned—is made, in Pisces, manifest. Those solitary visions that, but a month ago, belonged only to the dreamer, will now acquire the form and substance of the real. We were of our own making, and we shall be our own end. And after Pisces? Out of the womb, the bloody birth. We do not follow: we cannot cross from last to first. Aries will not admit a collective point of view, and Taurus will not relinquish the subjective. Gemini's code is an exclusive one. Cancer seeks a source, Leo, a purpose, and Virgo, a design; but these are projects undertaken singly. Only in the zodiac's second act will we begin to show ourselves: in Libra, as a notion, in Scorpio, as a quality, and in Sagittarius, as a voice. In Capricorn we will gain memory, and in Aquarius, vision; it is only in Pisces, the last and oldest of the zodiacal signs, that we acquire a kind of selfhood, something whole. But the doubled fish of Pisces, that mirrored womb of self and self-awareness, is an ourobouros of mind—both the will of fate, and the fated will—and the house of self-undoing is a prison built by prisoners, airless, door-less, and mortared from within. These alterations come upon us irrevocably, as the hands of the clock-face come upon the hour.

Security ... what does this word mean in relation to life as we know it today? For the most part, it means safety and freedom from worry. It is said to be the end that all men strive for; but is security a utopian goal or is it another word for rut? Let us visualize the secure man; and by this term, I mean a man who has settled for financial and personal security for his goal in life. In general, he is a man who has pushed ambition and initiative aside and settled down, so to speak, in a boring, but safe and comfortable rut for the rest of his life. His future is but an extension of his present, and he accepts it as such with a complacent shrug of his shoulders. His ideas and ideals are those of society in general and he is accepted as a respectable, but average and prosaic man. But is he a man? has he any self-respect or pride in himself? How could he, when he has risked nothing and gained nothing? What does he think when he sees his youthful dreams of adventure, accomplishment, travel and romance buried under the cloak of conformity? How does he feel when he realizes that he has barely tasted the meal of life; when he sees the prison he has made for himself in pursuit of the almighty dollar? If he thinks this is all well and good, fine, but think of the tragedy of a man who has sacrificed his freedom on the altar of security, and wishes he could turn back the hands of time. A man is to be pitied who lacked the courage to accept the challenge of freedom and depart from the cushion of security and see life as it is instead of living it second-hand. Life has by-passed this man and he has watched from a secure place, afraid to seek anything better What has he done except to sit and wait for the tomorrow which never comes? Turn back the pages of history and see the men who have shaped the destiny of the world. Security was never theirs, but they lived rather than existed. Where would the world be if all men had sought security and not taken risks or gambled with their lives on the chance that, if they won, life would be different and richer? It is from the bystanders (who are in the vast majority) that we receive the propaganda that life is not worth living, that life is drudgery, that the ambitions of youth must he laid aside for a life which is but a painful wait for death. These are the ones who squeeze what excitement they can from life out of the imaginations and experiences of others through books and movies. These are the insignificant and forgotten men who preach conformity because it is all they know. These are the men who dream at night of what could have been, but who wake at dawn to take their places at the now-familiar rut and to merely exist through another day. For them, the romance of life is long dead and they are forced to go through the years on a treadmill, cursing their existence, yet afraid to die because of the unknown which faces them after death. They lacked the only true courage: the kind which enables men to face the unknown regardless of the consequences. As an afterthought, it seems hardly proper to write of life without once mentioning happiness; so we shall let the reader answer this question for himself: who is the happier man, he who has braved the storm of life and lived or he who has stayed securely on shore and merely existed?

You can have mad thoughts in here. Like ... tell me, when I die, do they bring my corpse back to my cell to serve out the full term of my second sentence plus those seven years? Perhaps I've already been brought back and have just forgotten it? Maybe I'm already a corpse? A breathing cadaver? But no, no. A cadaver couldn't smile at himself this way. Somewhere, somehow, there's got to be something funny about all of this. Something horrendously funny. A wild cosmic joke on me, a real knee-slapper in some demonic heaven or hell. A while back someone was crying out eerily down the corridor in the echoing half-darkness. "Slur the buds!" he cried out dementedly, repeating those meaningless words over and over again in a ghostly voice, softly hissing and hollow. "Slur the buds! Slur the buds!" That's all I could make out. He must have called it out in that soft hollow hiss a dozen times in the course of fifteen minutes. Still other voices picked it up, and for a short while there was an impromptu ghostly chorus of "Slur the buds!" echoing down these unholy corridors. I never learned what the words meant. I never learned who it was who called out. Maybe I dreamed it. Maybe that was just me myself calling out in the demented darkness of my own imagination. Doing time does this thing to you. But, of course, you don't do time. You do without it. Or rather, time does you. Time is a cannibal that devours the flesh of your years day by day, bite by bite. And as he finishes the last morsel, with the juices of your life running down his bloody chin, he smiles wickedly, belches with satisfaction, and hisses out in ghostly tones, "Slur the buds!"

[Solitary confinement] is terrible. That is terrible. You're in a grave. You can't do anything. Everything's brought to you and you're in a room all day, except to come out of the showers. So when I would come out, I would entertain myself by singing, doing little mock concerts. And then when I was in the room, I would develop a routine. Like I have a lot of hair under here, so I would take my hair down and take all day to braid it on purpose. Stretch the hours out. Then I might write. And I would clean the floor. And I would look out the window. And then I'd devote a whole day to just reading. I was Christian then, trying to be. So I would read the whole Bible. I would break it down into sections. You're in a grave and you're trying to live. That's how to best describe it: trying to live in a grave. You're trying to live 'cause you're not dead yet, but nobody hears you when you call out, 'Hey, I'm alive!

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

Gertrude Stein, when asked why she wrote, replied "For praise." Lorca said he wrote to be loved. Faulkner said a writer wrote for glory. I may at times have written for those reasons, it's hard to know. Overall I write because I see the world in a certain way that no dialogue or series of them can begin to describe, that no book can fully render, though the greatest books thrill in their attempt. A great book may be an accident, but a good one is a possibility, and it is thinking of that that one writes. In short, to achieve. The rest takes care of itself, and so much praise is given to insignificant things that there is hardly any sense in striving for it. In the end, writing is like a prison, an island from which you will never be released but which is a kind of paradise: the solitude, the thoughts, the incredible joy of putting into words the essence of what you for the moment understand and with your whole heart want to believe.

Write about patriotism, about victory and defeat. Write about revolutions and rebels and prisoners and wars. About emotions, of love and hatred and disappointment and regret. Intangible love and uncolored hatred and heartbreaking disappointments and abysmal regrets. Write about the seven deadly sins, about stealth and murder and gluttony and greed. Don’t forget to write about saints and sinners all the same. Write the poor and the rich using the same words, make them equal for once. Write about mothers who lost their children, about those who never had to lose; I challenge you to tell me which hurts more. Write about darkness and light, about light in the dark and darkness in the light. Remember to write about lost friendships, about those who never found a shoulder when life shut its lights dim, or those who kept the secret to their sadness within. Be fair to them too. Remind the world of those who always had someone to love but not someone to love them back, craft their nights and dreams carefully. Don’t forget the writers, who keep promises with words and silence. Be subtle. Be warm. Remember heartbeats and heartbreaks. Remember everything, remember all, equally. And then let the world remind you: Words will never be fair to whatever you write.

Asia is rising against me. I haven't got a chinaman's chance. I'd better consider my national resources. My national resources cousist of two joints of marijuana millions of genitals an unpublishable private literature that goes 1400 miles an hour and twentyfive-thousand mental institutions. I say nothing about my prisons nor the millions of underprivileged who live in my flowerpots under the light of five hundred suns. I have abolished the whorehouses of France, Tangiers is the next to go. My ambition is to be President despite the fact that I'm a Catholic. America how can I write a holy litany in your silly mood? I will continue like Henry Ford my strophes are as individual as his automobiles more so they're all different sexes. America I will sell you strophes $2500 apiece $500 down on your old strophe America free Tom Mooney America save the Spanish Loyalists America Sacco & V anzetti must not die America I am the Scottsboro boys. America when I was seven momma took me to Communist Cell meetings they sold us garbanzos a handful per ticket a ticket costs a nickel and the speeches were free everybody was angelic and sentimental about the workers it was all so sincere you have no idea what a good thing the party was in 1835 Scott Nearing was a grand old man a real mensch Mother Bloor made me cry I once saw Israel Amter plain. Everybody must have been a spy. America you don't really want to go to war. America it's them bad Russians. Them Russians them Russians and them Chinamen. And them Russians. The Russia wants to eat us alive. The Russia's power mad. She wants to take our cars from out our garages. Her wants to grab Chicago. Her needs a Red Readers' Digest. Her wants our auto plants in Siberia. Him big bureaucracy running our fillingstations. That no good. Ugh. Him make Indians learn read. Him need big black niggers. Hah. Her make us all work sixteen hours a day. Help. America this is quite serious. America this is the impression I get from looking in the television set. America is this correct? I'd better get right down to the job. It's true I don't want to join the Army or turn lathes in precision parts factories, I'm nearsighted and psychopathic anyway. America I'm putting my queer shoulder to the wheel.

Arthur said brightly, “Actually I quite liked it.” Ford turned and gaped. Here was an approach that had quite simply not occurred to him. The Vogon raised a surprised eyebrow that effectively obscured his nose and was therefore no bad thing. “Oh good …” he whirred, in considerable astonishment. “Oh yes,” said Arthur, “I thought that some of the metaphysical imagery was really particularly effective.” Ford continued to stare at him, slowly organizing his thoughts around this totally new concept. Were they really going to be able to bareface their way out of this? “Yes, do continue …” invited the Vogon. “Oh … and, er … interesting rhythmic devices too,” continued Arthur, “which seemed to counterpoint the … er … er …” he floundered. Ford leaped to his rescue, hazarding “… counterpoint the surrealism of the underlying metaphor of the … er …” He floundered too, but Arthur was ready again. “… humanity of the …” “Vogonity,” Ford hissed at him. “Ah yes, Vogonity—sorry—of the poet’s compassionate soul”—Arthur felt he was on the homestretch now—“which contrives through the medium of the verse structure to sublimate this, transcend that, and come to terms with the fundamental dichotomies of the other”—he was reaching a triumphant crescendo—“and one is left with a profound and vivid insight into … into … er …” (which suddenly gave out on him). Ford leaped in with the coup de grace: “Into whatever it was the poem was about!” he yelled. Out of the corner of his mouth: “Well done, Arthur, that was very good.” The Vogon perused them. For a moment his embittered racial soul had been touched, but he thought no—too little too late. His voice took on the quality of a cat snagging brushed nylon. “So what you’re saying is that I write poetry because underneath my mean callous heartless exterior I really just want to be loved,” he said. He paused, “Is that right?” Ford laughed a nervous laugh. “Well, I mean, yes,” he said, “don’t we all, deep down, you know … er …” The Vogon stood up. “No, well, you’re completely wrong,” he said, “I just write poetry to throw my mean callous heartless exterior into sharp relief. I’m going to throw you off the ship anyway. Guard! Take the prisoners to number three airlock and throw them out!” “What?” shouted Ford. A huge young Vogon guard stepped forward and yanked them out of their straps with his huge blubbery arms. “You can’t throw us into space,” yelled Ford, “we’re trying to write a book.” “Resistance is useless!” shouted the Vogon guard back at him. It was the first phrase he’d learned when he joined the Vogon Guard Corps.

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

For the guard with the scar over her heart: I’ve been watching you. You’re not like the other guards — the bowing, scraping, mindlessly loyal lizards who live for your queen. You have your own thoughts, don’t you? You’re smarter than the average SandWing. And I think I know your secret. Let’s talk about it. Third cell down, the one with two NightWings in it. I’m the one who doesn’t snore. I HAVE NO INTEREST IN DISCUSSING ANYTHING WITH A NIGHTWING PRISONER. WHOSE IDEA WAS IT TO LET YOU HAVE PAPER AND INK? You should be interested. You’re going to need allies for what you’re planning … and when I get out of here, I’m going to be a very useful ally indeed. AMUSING ASSUMPTIONS. MY QUEEN BELIEVES YOU’RE GOING TO BE IN HERE FOR A LONG, LONG TIME. True … but she also believes she’s going to be queen for a long, long time … doesn’t she. An interesting silence after my last note. Perhaps it would reassure you to know I set your notes on fire as soon as I’ve read them. You can tell me anything, my new, venomous-tailed friend. Believe me, Night-Wings are exceptionally skilled at keeping secrets. WE ARE NOT FRIENDS. I DON’T KNOW ANYTHING ABOUT YOU, OTHER THAN WHAT IT SAYS IN YOUR PRISONER FILE. FIERCETEETH: TRAITOR. KIDNAPPER. RINGLEADER OF ASSASSINATION PLOT. TO BE HELD INDEFINITELY WITH FELLOW TRAITOR STRONGWINGS, ON BEHALF OF THE NIGHTWING QUEEN. OH, YES, CERTAINLY SOUNDS LIKE A DRAGON ANYONE CAN TRUST. She’s not my queen. You can’t be a traitor to someone who shouldn’t be ruling over you in the first place. Which might be a thought you’ve had lately yourself, isn’t it? I know some things about you, even without a file. Saguaro: Prison guard. Schemer. Connected to great secret plans. We’re not so different, you and I. Particularly when it comes to trustworthiness. Just think, if my alleged “assassination plot” had worked, the NightWings would have a different queen right now. Perhaps it would even be me. Well, if at first you don’t succeed … I could tell you my story, if you get me more paper to write on. Or you could stop by one midnight and listen to it instead. But I’ve noticed you don’t like spending too much time in the dungeon. Is it the tip-tap of little scorpion claws scrabbling everywhere? The stench rising from the holes in the floor? The gibbering mad SandWing a few cages down who never shuts up, all night long? (What is her story? Has she really been here since the rule of Queen Oasis?) Or is it that you can too easily picture yourself behind these bars … and you know how close you are to joining us? ALL RIGHT, NIGHTWING, HERE’S A BLANK SCROLL. GO AHEAD AND TRY TO CONVINCE ME THAT YOU’RE A DRAGON WHO EVEN DESERVES TO LIVE, LET ALONE ONE I SHOULD WASTE MY TIME ON. I DO ENJOY BEING AMUSED.

Writing is finally about one thing: going into a room alone and doing it. Putting words on paper that have never been there in quite that way before. And although you are physically by yourself, the haunting Demon never leaves you, that Demon being the knowledge of your own terrible limitations, your hopeless inadequacy, the impossibility of ever getting it right. No matter how diamond-bright your ideas are dancing in your brain, on paper they are earthbound. If you’re trying a screenplay, you know it’s never going to be Bergman. If it’s a novel, well, what kind of a novelist can you hope to be when Dostoevski was there before you. And Dickens and Cervantes and all the other masters that led you to the prison of your desk. But if you’re a writer, that’s what you must do, and in order to accomplish anything at all, at the rock bottom of it all is your confidence. You tell yourself lies and you force them into belief: Hey, you suckers, I’m going to do it this one time. I’m going to tell you things you never knew. I’ve—got—secrets!

This was the time when all we could talk about was sentences, sentences—nothing else stirred us. Whatever happened in those days, whatever befell our regard, Clea and I couldn’t rest until it had been converted into what we told ourselves were astonishingly unprecedented and charming sentences: “Esther’s cleavage is something to be noticed” or “You can’t have a contemporary prison without contemporary furniture” or “I envision an art which will make criticism itself seem like a cognitive symptom, one which its sufferers define to themselves as taste but is in fact nothing of the sort” or “I said I want my eggs scrambled not destroyed.” At the explosion of such a sequence from our green young lips, we’d rashly scribble it on the wall of our apartment with a filthy wax pencil, or type it twenty-five times on the same sheet of paper and then photocopy the paper twenty-five times and then slice each page into twenty-five slices on the paper cutter in the photocopy shop and then scatter the resultant six hundred and twenty-five slips of paper throughout the streets of our city, fortunes without cookies.

Ms.Mutou- I was told to write a last will, but… But even if I had possessions that were worth passing on, I have no family to give them to, So I wrote a letter to you, like always.. I never could have imagined how shocked I’d been… When I first saw you at the prison. The truth is, I’d been looking for you. On that day that my brother died and I was left alone, Even you disappeared from the television screens… I looked for you… I looked and looked… But I couldn’t find you… I’d forgotten about it… So when I saw you here at the prison… I thought that perhaps… God truly did exist… Thanks to the Thursday that I spent with you, I knew for the first time how it felt to be happy. It was something I couldn’t obtain living by myself… It felt like I understood why people live their lives mingling with others… I won’t put a brave front… And tell you to forget about me, and live your life without letting your past hold you back… I want you to remember me. Just you-… That there was a little person like me… You told me once that even though there was someone you hated enough to want to kill, you were afraid to do it and stopped. I don’t think that you stopped because you were afraid, but rather that you were brave. If I had also done so… Perhaps I could have said to you the word that I could never say… Words… That I haven’t said once… Not since I was born… Probably… Ever since then… Ever since then… I’ve loved you… Live. Even if it’s only for a day… And please find a way… To be happier than anyone else…

This is the real work of woman of color feminism: to resist acquiescence to fatality and guilt, to become warriors of conscience and action who resist death in all its myriad manifestations: poverty, cultural assimilation, child abuse, motherless mothering, gentrification, mental illness, welfare cuts, the prison system, racial profiling, immigrant and queer bashing, invasion and imperialism at home and at war. To fight any kind of war, Kahente Horn-Miller writes. "The Biggest single requirement is fighting spirit." I thought much of this as I read Colonize This! since this collection appears in print at a time of escalating world-wide war--In Colombia, Afghanistan, Palestine. But is there ever a time of no-war for women of color? Is there ever a time when our home (our body, our land of origin) is not subject to violent occupation, violent invasion? If I retain any image to hold the heart-intention of this book, it is found in what Horn-Miller calls the necessity of the war dance. This book is one rite of passage, one ceremony of preparedness on the road to consciousness, on the "the war path of greater empowerment.

When you grow up Indian, you quickly learn that the so-called American Dream isn't for you. For you that dream's a nightmare. Ask any Indian kid: you're out just walking across the street of some little off-reservation town and there's this white cop suddenly comes up to you, grabs you by your long hair, pushes you up against a car, frisks you, gives you a couple good jabs in the ribs with his nightstick, then sends you off with a warning sneer: "Watch yourself, Tonto!" He doesn't do that to white kids, just Indians. You can hear him chuckling with delight as you limp off, clutching your bruised ribs. If you talk smart when they hassle you, off to the slammer you go. Keep these Injuns in their place, you know. Truth is, they actually need us. Who else would they fill up their jails and prisons with in places like the Dakotas and New Mexico if they didn't have Indians? Think of all the cops and judges and guards and lawyers who'd be out of work if they didn't have Indians to oppress! We keep the system going. We help give the American system of injustice the criminals it needs. At least being prison fodder is some kind of reason for being. Prison's the only university, the only finishing school many young Indian brothers ever see. Same for blacks and Latinos. So-called Latinos, of course, are what white man calls Indians who live south of the Rio Grande. White man's books will tell you there are only 2.5 million or so of us Indians here in America. But there are more than 200 million of us right here in this Western Hemisphere, in the Americas, and hundreds of millions more indigenous peoples around this Mother Earth. We are the Original People. We are one of the fingers on the hand of humankind. Why is it we are unrepresented in our own lands, and without a seat — or many seats — in the United Nations? Why is it we're allowed to send our delegates only to prisons and to cemeteries?

One author, in writing of the Bible’s uniqueness, put it this way: Here is a book: 1. written over a 1500 year span; 2. written over 40 generations; 3. written by more than 40 authors, from every walk of life— including kings, peasants, philosophers, fishermen, poets, statesmen, scholars, etc.: Moses, a political leader, trained in the universities of Egypt Peter, a fisherman Amos, a herdsman Joshua, a military general Nehemiah, a cupbearer Daniel, a prime minister Luke, a doctor Solomon, a king Matthew, a tax collector Paul, a rabbi 4. written in different places: Moses in the wilderness Jeremiah in a dungeon Daniel on a hillside and in a palace Paul inside a prison Luke while traveling John on the isle of Patmos others in the rigors of a military campaign 5. written at different times: David in times of war Solomon in times of peace 6. written during different moods: some writing from the heights of joy and others from the depths of sorrow and despair 7. written on three continents: Asia, Africa, and Europe 8. written in three languages: Hebrew… , Aramaic… , and Greek… 9. Finally, its subject matter includes hundreds of controversial topics. Yet, the biblical authors spoke with harmony and continuity from Genesis to Revelation. There is one unfolding story…

American Indians share a magnificent history — rich in its astounding diversity, its integrity, its spirituality, its ongoing unique culture and dynamic tradition. It's also rich, I'm saddened to say, in tragedy, deceit, and genocide. Our sovereignty, our nationhood, our very identity — along with our sacred lands — have been stolen from us in one of the great thefts of human history. And I am referring not just to the thefts of previous centuries but to the great thefts that are still being perpetrated upon us today, at this very moment. Our human rights as indigenous peoples are being violated every day of our lives — and by the very same people who loudly and sanctimoniously proclaim to other nations the moral necessity of such rights. Over the centuries our sacred lands have been repeatedly and routinely stolen from us by the governments and peoples of the United States and Canada. They callously pushed us onto remote reservations on what they thought was worthless wasteland, trying to sweep us under the rug of history. But today, that so-called wasteland has surprisingly become enormously valuable as the relentless technology of white society continues its determined assault on Mother Earth. White society would now like to terminate us as peoples and push us off our reservations so they can steal our remaining mineral and oil resources. It's nothing new for them to steal from nonwhite peoples. When the oppressors succeed with their illegal thefts and depredations, it's called colonialism. When their efforts to colonize indigenous peoples are met with resistance or anything but abject surrender, it's called war. When the colonized peoples attempt to resist their oppression and defend themselves, we're called criminals. I write this book to bring about a greater understanding of what being an Indian means, of who we are as human beings. We're not quaint curiosities or stereotypical figures in a movie, but ordinary — and, yes, at times, extraordinary — human beings. Just like you. We feel. We bleed. We are born. We die. We aren't stuffed dummies in front of a souvenir shop; we aren't sports mascots for teams like the Redskins or the Indians or the Braves or a thousand others who steal and distort and ridicule our likeness. Imagine if they called their teams the Washington Whiteskins or the Washington Blackskins! Then you'd see a protest! With all else that's been taken from us, we ask that you leave us our name, our self-respect, our sense of belonging to the great human family of which we are all part. Our voice, our collective voice, our eagle's cry, is just beginning to be heard. We call out to all of humanity. Hear us!

Forcing new loans upon the bankrupt on condition that they shrink their income is nothing short of cruel and unusual punishment. Greece was never bailed out. With their ‘rescue’ loan and their troika of bailiffs enthusiastically slashing incomes, the EU and IMF effectively condemned Greece to a modern version of the Dickensian debtors’ prison and then threw away the key. Debtors’ prisons were ultimately abandoned because, despite their cruelty, they neither deterred the accumulation of new bad debts nor helped creditors get their money back. For capitalism to advance in the nineteenth century, the absurd notion that all debts are sacred had to be ditched and replaced with the notion of limited liability. After all, if all debts are guaranteed, why should lenders lend responsibly? And why should some debts carry a higher interest rate than other debts, reflecting the higher risk of going bad? Bankruptcy and debt write-downs became for capitalism what hell had always been for Christian dogma – unpleasant yet essential – but curiously bankruptcy-denial was revived in the twenty-first century to deal with the Greek state’s insolvency. Why? Did the EU and the IMF not realize what they were doing? They knew exactly what they were doing. Despite their meticulous propaganda, in which they insisted that they were trying to save Greece, to grant the Greek people a second chance, to help reform Greece’s chronically crooked state and so on, the world’s most powerful institutions and governments were under no illusions. […] Banks restructure the debt of stressed corporations every day, not out of philanthropy but out of enlightened self-interest. But the problem was that, now that we had accepted the EU–IMF bailout, we were no longer dealing with banks but with politicians who had lied to their parliaments to convince them to relieve the banks of Greece’s debt and take it on themselves. A debt restructuring would require them to go back to their parliaments and confess their earlier sin, something they would never do voluntarily, fearful of the repercussions. The only alternative was to continue the pretence by giving the Greek government another wad of money with which to pretend to meet its debt repayments to the EU and the IMF: a second bailout.

We were to write a short essay on one of the works we read in the course and relate it to our lives. I chose the "Allegory of the Cave" in Plato's Republic. I compared my childhood of growing up in a family of migrant workers with the prisoners who were in a dark cave chained to the floor and facing a blank wall. I wrote that, like the captives, my family and other migrant workers were shackled to the fields day after day, seven days a week, week after week, being paid very little and living in tents or old garages that had dirt floors, no indoor plumbing, no electricity. I described how the daily struggle to simply put food on our tables kept us from breaking the shackles, from turning our lives around. I explained that faith and hope for a better life kept us going. I identified with the prisoner who managed to escape and with his sense of obligation to return to the cave and help others break free.

That's the only way I can somehow get close to it, to that goddamn it, without it killing me, you know? I have to dance around in front of it, I have to move, not freeze like a mouse who sees a snake. I have to feel, even just for a minute, for half a second, the last free place I may still have inside me, the fraction of a spark that still somehow glows inside, which that lousy it couldn't extinguish. Ugh! I have no other way. You have to get that: I have no other way. And maybe there is no other way, huh? I don't know, and you wouldn't understand, so at least write it down, quick. I want to knead it--yes, it, the thing that happened, the thing that struck like lightening and burned everything I had, including the words, goddamn it and its memory, the bastard burned the words that could have described it for me. And I have to mix it up with some part of me. I must, from deep inside me, and then exhale into it with my pathetic breath so I can try and make it a bit--how can I explain this to you--a bit mine, mine...Because a part of me, of mine, already belongs to it, deep inside it, in its damn prison, so there might be an opening, we might be able to haggle...What? Write it down, you criminal! Don't stop writing. You stand there staring at me? Now that I've finally managed to get out a single word about it, and breathe...I have to create characters. That's what I want, what I need. I must, it's always like that with me. Characters that flow into the story, swarm it, that can maybe air out my cell a little and surprise it--and me. Yes, I want them to betray me, betray it, the motherfucker. I want them to jump it from this side and the other and from every direction...just so long as they make it budge even one millimeter, that's enough, so that at least it moves a little on my page, so it twitches, and just makes it not so so impossible to anything.

Letters from home have come too, which I have not yet had the courage to read, I feel so melancholy. Please ask M. Aurier not to write any more articles on my painting, insist upon this, that to begin with he is mistaken about me, since I am too overwhelmed with grief to be able to face publicity. Making pictures distracts me, but if I hear them spoken of, it pains me more than he knows. How is Bernard? As there are some canvases in duplicate, if you like you can exchange with him, for a good canvas by him would be a fine thing to have in your collection. I felt ill at the time I was doing the almond blossoms. If I had been able to go on working, you can judge from it that I would have done others of trees in blossom. Now the trees in blossom are almost over, really I have no luck. Yes, I must try to get out of here, but where to go? I do not think I could be more shut up and more of a prisoner in the homes where they do not pretend to leave you free, such as at Charenton or Montevergues.

Are all your family wizards?" asked Harry, who found Ron just as interesting as Ron found him. "Er- yes, I think so," said Ron. "I think Mom's got a second cousin who's an accountant, but we never talk about him." "So you must know loads of magic already." The Weasleys were clearly one of those old wizarding families the pale boy in Diagon Alley had talked about. "I heard you went to live with Muggles," said Ron. "What are they like?" "Horrible- well, not all of them. My aunt and uncle and cousin are, though. Wish I'd had three wizard brothers." "Five," said Ron. For some reason, he was looking gloomy. "I'm the sixth in our family to go to Hogwarts. You could say I've got a lot to live up to. Bill and Charlie have already left- Bill was head boy and Charlie was captain of Quidditch. Now Percy's a prefect. Fred and George mess around a lot, but they still get really good marks and everyone thinks they're really funny. Everyone expects me to do as well as the others, but if I do, it's no big deal, because they did it first. You never get anything new, either, with five brothers. I've got Bill's old robes, Charlie's old wand, and Percy's old rat." Ron reached inside his jacket and pulled out a fat gray rat, which was asleep. "His name's Scabbers and he's useless, he hardly ever wakes up. Percy got an owl from my dad for being made a prefect, but they couldn't aff- I mean, I got Scabbers instead." Ron's ears went pink. He seemed to think he'd said too much, because he went back to staring out of the window.

I have been drenched in you I'm going about my day soaking like us in Canons Park, when your car became a prison and I escaped to the side of the road and wept with the rain. That day it understood me where you couldn't. And held me when you wouldn't. I'm soaking again. So of course you have pushed your way into every conversation. Even when I meet those polite folk who only as with their eyes. You spill from my mouth like a tsunami. How vocal this lonely. Sliding into every crevice of my day, I count the minutes by you. It's been an hour and I haven't said your name. But still, there is no getting away from this layer of wet skin sat on mine. Where can I go this wet? Where is quiet enough to listen to the little ripples writing themselves along my arms, and then spend hours building those stories about how we would travel far from here and surf them once they grew into waves? Everyone leave me alone today. It's for me and the you of my mind to hold our breath for as long as possible underneath our reality which is this.

Imagine you live on a planet where the dominant species is far more intellectually sophisticated than human beings but often keeps humans as companion animals. They are called the Gorns. They communicate with each other via a complex combination of telepathy, eye movements & high-pitched squeaks, all completely unintelligible & unlearnable by humans, whose brains are prepared for verbal language acquisition only. Humans sometimes learn the meaning of individual sounds by repeated association with things of relevance to them. The Gorns & humans bond strongly but there are many Gorn rules that humans must try to assimilate with limited information & usually high stakes. You are one of the lucky humans who lives with the Gorns in their dwelling. Many other humans are chained to small cabanas in the yard or kept in outdoor pens of varying size. They are so socially starved they cannot control their emotions when a Gorn goes near them. The Gorns agree that they could never be House-Humans. The dwelling you share with your Gorn family is filled with water-filled porcelain bowls.Every time you try to urinate in one,nearby Gorn attack you. You learn to only use the toilet when there are no Gorns present. Sometimes they come home & stuff your head down the toilet for no apparent reason. You hate this & start sucking up to the Gorns when they come home to try & stave this off but they view this as evidence of your guilt. You are also punished for watching videos, reading books, talking to other human beings, eating pizza or cheesecake, & writing letters. These are all considered behavior problems by the Gorns. To avoid going crazy, once again you wait until they are not around to try doing anything you wish to do. While they are around, you sit quietly, staring straight ahead. Because they witness this good behavior you are so obviously capable of, they attribute to “spite” the video watching & other transgressions that occur when you are alone. Obviously you resent being left alone, they figure. You are walked several times a day and left crossword puzzle books to do. You have never used them because you hate crosswords; the Gorns think you’re ignoring them out of revenge. Worst of all, you like them. They are, after all, often nice to you. But when you smile at them, they punish you, likewise for shaking hands. If you apologize they punish you again. You have not seen another human since you were a small child. When you see one you are curious, excited & afraid. You really don’t know how to act. So, the Gorn you live with keeps you away from other humans. Your social skills never develop. Finally, you are brought to “training” school. A large part of the training consists of having your air briefly cut off by a metal chain around your neck. They are sure you understand every squeak & telepathic communication they make because sometimes you get it right. You are guessing & hate the training. You feel pretty stressed out a lot of the time. One day, you see a Gorn approaching with the training collar in hand. You have PMS, a sore neck & you just don’t feel up to the baffling coercion about to ensue. You tell them in your sternest voice to please leave you alone & go away. The Gorns are shocked by this unprovoked aggressive behavior. They thought you had a good temperament. They put you in one of their vehicles & take you for a drive. You watch the attractive planetary landscape going by & wonder where you are going. You are led into a building filled with the smell of human sweat & excrement. Humans are everywhere in small cages. Some are nervous, some depressed, most watch the goings on on from their prisons. Your Gorns, with whom you have lived your entire life, hand you over to strangers who drag you to a small room. You are terrified & yell for your Gorn family to help you. They turn & walk away.You are held down & given a lethal injection. It is, after all, the humane way to do it.

He spent two years in the extermination camp at Auschwitz. According to his own reluctant account, he came this close to going up a smokestack of a crematorium there: "I had just been assigned to the Sonderkommando," he said to me, "when the order came from Himmler to close the ovens down." Sonderkommando means special detail. At Auschwitz it meant a very special detail indeed--one composed of prisoners whose duties were to shepherd condemned persons into gas chambers, and then to lug their bodies out. When the job was done, the members of the Sonderkommando were themselves killed. The first duty of their successors was to dispose of their remains. Gutman told me that many men actually volunteered for the Sonderkommando. "Why?" I asked him. "If you would write a book about that," he said, "and give the answer to that question, that 'Why?'--you would have a very great book." "Do you know the answer?" I said. "No," he said, "That is why I would pay a great deal of money for a book with the answer in it." "Any guesses?" I said. "No," he said, looking me straight in the eye, "even though I was one of the ones who volunteered." He went away for a little while, after having confessed that. And he thought about Auschwitz, the thing he liked least to think about. And he came back, and he said to me: "There were loudspeakers all over the camp," he said, "and they were never silent for long. There was much music played through them. Those who were musical told me it was often good music--sometimes the best." "That's interesting," I said. "There was no music by Jews," he said. "That was forbidden." "Naturally," I said. "And the music was always stopping in the middle," he said, "and then there was an announcement. All day long, music and announcements." "Very modern," I said. He closed his eyes, remembered gropingly. "There was one announcement that was always crooned, like a nursery rhyme. Many times a day it came. It was the call for the Sonderkommando." "Oh?" I said. "Leichentärger zu Wache," he crooned, his eyes still closed. Translation: "Corpse-carriers to the guardhouse." In an institution in which the purpose was to kill human beings by the millions, it was an understandably common cry. "After two years of hearing that call over the loudspeakers, between the music," Gutman said to me, "the position of corpse-carrier suddenly sounded like a very good job.

Over at one side of the room, seated behind a small nondescript table beneath a small lamp, was a neat, black-haired major. Patient boredom was what his face chiefly revealed ... He asked my name ... Leafing through the pile on the right, the major found the paper which referred to me. He pulled it out and read it aloud to me in a bored patter. I understood I had been sentenced to eight years ... Could this really be my sentence - the turning point in my life? I would have liked to feel nervous, to experience this moment to the full, but I just couldn't ... The major had already pushed the sheet over to me, blank side facing up. 'No, I have to read it myself.' 'Do you really think I would deceive you?' the major objected lazily. Was I really just supposed to sign and leave in silence? ... He had already nodded to the jailer at the door to get the next prisoner ready ... 'Right there.' The major showed me once again where to sign. I signed. I could simply not think of anything else to do. 'In that case, allow me to write an appeal right here. After all, the sentence is unjust.' ... There was nowhere to appeal to. There was no appeals jurisdiction above it, and no jurisdiction beneath it. It was subordinate only to the Minister of Internal Affairs, to Stalin, and to Satan.

Sun Dance makes me strong. Sun Dance takes place inside of me, not outside of me. I pierce the flesh of my being. I offer my flesh to the Great Spirit, the Great Mystery, Wakan Tanka. To give your flesh to Spirit is to give your life. And what you have given you can no longer lose. Sun Dance is our religion, our strength. We take great pride in that strength, which enables us to resist pain, torture, any trial rather than betray the People. That's why, in the past, when the enemy tortured us with knives, bullwhips, even fire, we were able to withstand the pain. That strength still exists among us. When you give your flesh, when you're pierced in Sun Dance, you feel every bit of that pain, every iota. Not one jot is spared you. And yet there is a separation, a detachment, a greater mind that you become part of, so that you both feel the pain and see yourself feeling the pain. And then, somehow, the pain becomes contained, limited. As the white-hot sun pours molten through your eyes into your inner being, as the skewers implanted in your chest pull and yank and rip at your screaming flesh, a strange and powerful lucidity gradually expands within your mind. The pain explodes into a bright white light, into revelation. You are given a wordless vision of what it is to be in touch with all Being and all beings. And for the rest of your life, once you have made that sacrifice of your flesh to the Great Mystery, you will never forget that greater reality of which we are each an intimate and essential part and which holds each of us in an embrace as loving as mother's arms. Every time a pin pricks your finger from then on, that little pain will be but a tiny reminder of that larger pain and of the still greater reality that exists within each of us, an infinite realm beyond reach of all pain. There even the most pitiable prisoner can find solace. So Sun Dance made even prison life sustainable for me. I am undestroyed. My life is my Sun Dance.

Farragut's first visitor was his wife. He was raking leaves in yard Y when the PA said that 734-508-32 had a visitor. He jogged up the road past the firehouse and into the tunnel. It was four flights up to cellblock F. "Visitor," he said to Walton, who let him into his cell. He kept his white shirt prepared for visits. It was dusty. He washed his face and combed his hair with water. "Don't take nuttin but a handkerchief," said the guard. "I know, I know, I know...." Down he went to the door of the visitor's room, where he was frisked. Through the glass he saw that his visitor was Marcia. There were no bars in the visitor's room, but the glass windows were chicken-wired and open only at the top. A skinny cat couldn't get in or out, but the sounds of the prison moved in freely on the breeze. She would, he knew, have passed three sets of bars - clang, clang, clang - and waited in an anteroom where there were pews or benches, soft-drink engines and a display of the convict's art with prices stuck in the frames. None of the cons could paint, but you could always count on some wet-brain to buy a vase of roses or a marine sunset if he had been told that the artist was a lifer. There were no pictures on the walls of the visitor's room but there were four signs that said: NO SMOKING, NO WRITING, NO EXCHANGE OF OBJECTS, VISITORS ARE ALLOWED ONE KISS.

However, the simple-minded Middle Ages used dramatic and picturesque methods to squeeze out the desired confessions: the rack, the wheel, the bed of nails, impalement, hot coals, etc. In the twentieth century, taking advantage of our more highly developed medical knowledge and extensive prison experience (and someone seriously defended a doctoral dissertation on this theme), people came to realize that the accumulation of such impressive apparatus was superfluous and that, on a mass scale, it was also cumbersome. And in addition . . . In addition, there was evidently one other circumstance. As always, Stalin did not pronounce that final word, and his subordinates had to guess what he wanted. Thus, like a jackal, he left himself an escape hole, so that he could, if he wanted, beat a retreat and write about “dizziness from success.” After all, for the first time in human history the calculated torture of millions was being undertaken, and, even with all his strength and power, Stalin could not be absolutely sure of success. In dealing with such an enormous mass of material, the effects of the experiment might differ from those obtained from a smaller sample. An unforeseen explosion might take place, a slippage in a geological fault, or even world-wide disclosure. In any case, Stalin had to remain innocent, his sacred vestments angelically pure.

In ballads, love is a disease, an affliction. You contract it as a mortal might contract one of their viruses. Perhaps a touch of hands or a brush of lips, and then it is as though your whole body is fevered and fighting it. But there’s no way to prevent it from running its course.” “That’s a remarkably poetic and profoundly awful view of love,” Oak says. Tiernan looks back at the sea. “I was never in love before, so all I had were ballads to go by.” Oak is silent, thinking of all the times he thought himself to be in love. “Never?” Tiernan gives a soft huff of breath. “I had lovers, but that’s not the same thing.” Oak thinks about how to name what he feels about Wren. He does not wish to write her ridiculous poems as he did for so many of the people with whom he thought he was in love, except that he does wish to make her laugh. He does not want to give her enormous speeches or to make grand, empty gestures; he does not want to give her the pantomime of love. He is starting to suspect, however, that pantomime is all he knows. “But…” Tiernan says, and hesitates again, running hand through his short blackberry hair. “What I feel is not like the ballads.” “Not an affliction, then?” Oak raises an eyebrow. “No fever?” Tiernan gives him an exasperated look—one with which the prince is very familiar. “It is more the feeling that there is a part of me I have left somewhere and am always looking for.” “So he’s like a missing phone?” “Someone ought to pitch you into the sea,” Tiernan says, but he has a small smile in the corner of his mouth.

The former South African archbishop Desmond Tutu used to famously say, “We are prisoners of hope.” Such a statement might be taken as merely rhetorical or even eccentric if you hadn’t seen Bishop Tutu stare down the notorious South African Security Police when they broke into the Cathedral of St. George’s during his sermon at an ecumenical service. I was there and have preached about the dramatic story of his response more times than I can count. The incident taught me more about the power of hope than any other moment of my life. Desmond Tutu stopped preaching and just looked at the intruders as they lined the walls of his cathedral, wielding writing pads and tape recorders to record whatever he said and thereby threatening him with consequences for any bold prophetic utterances. They had already arrested Tutu and other church leaders just a few weeks before and kept them in jail for several days to make both a statement and a point: Religious leaders who take on leadership roles in the struggle against apartheid will be treated like any other opponents of the Pretoria regime. After meeting their eyes with his in a steely gaze, the church leader acknowledged their power (“You are powerful, very powerful”) but reminded them that he served a higher power greater than their political authority (“But I serve a God who cannot be mocked!”). Then, in the most extraordinary challenge to political tyranny I have ever witnessed, Archbishop Desmond Tutu told the representatives of South African apartheid, “Since you have already lost, I invite you today to come and join the winning side!” He said it with a smile on his face and enticing warmth in his invitation, but with a clarity and a boldness that took everyone’s breath away. The congregation’s response was electric. The crowd was literally transformed by the bishop’s challenge to power. From a cowering fear of the heavily armed security forces that surrounded the cathedral and greatly outnumbered the band of worshipers, we literally leaped to our feet, shouted the praises of God and began…dancing. (What is it about dancing that enacts and embodies the spirit of hope?) We danced out of the cathedral to meet the awaiting police and military forces of apartheid who hardly expected a confrontation with dancing worshipers. Not knowing what else to do, they backed up to provide the space for the people of faith to dance for freedom in the streets of South Africa.

Whites generally are unable or unwilling to acknowledge how structural patterning generates white bias and responsibility for that structural patterning. Perhaps it is Mumia Abu-Jamal who again has deftly and complexly summarized the phenomenon of viciously racist bias in relation to African American experience of “criminal justice.” Contemplating Pennsylvania’s death row population which was 60 percent black at the time of his writing in a state where blacks make up only 11 percent of the population, Abu-Jamal reflects: Does this mean that African-Americans are somehow innocents, subjected to a set up by state officials? Not especially. What it does suggest is that state actors, at all stages of the criminal justice system, including slating at the police station, arraignment at the judicial office, pretrial, trial and sentencing stage before a court, treat African-American defendants with a special vengeance not experienced by white defendants.[94] Hence, we have the prison house and criminal justice structures as a bastion of white racism, displaying severe racial disparities, unequally disseminating terror and group loss for racialized groups in the US. It is a bitter fruit of the nation’s legacy of four centuries of slavery in North America, of the Jim Crow rollback of Reconstruction that often was reinforced by lynching practices. Some of today’s prisons are, in fact, built on sites of former slave plantations.[95] More importantly, prisons today are institutions that preserve a white society marked by white dominance and the confinement of nonwhite bodies, especially black bodies, exposing those bodies to commodification, immobilization, and disintegration.

A month passed, and it was time again for Marcus to return to his research. He had been avoiding it because it wasn’t going well. Originally, he’d wanted to focus his work on the convict leasing system that had stolen years off of his great-grandpa H’s life, but the deeper into the research he got, the bigger the project got. How could he talk about Great-Grandpa H’s story without also talking about his grandma Willie and the millions of other black people who had migrated north, fleeing Jim Crow? And if he mentioned the Great Migration, he’d have to talk about the cities that took that flock in. He’d have to talk about Harlem. And how could he talk about Harlem without mentioning his father’s heroin addiction—the stints in prison, the criminal record? And if he was going to talk about heroin in Harlem in the ’60s, wouldn’t he also have to talk about crack everywhere in the ’80s? And if he wrote about crack, he’d inevitably be writing, too, about the “war on drugs.” And if he started talking about the war on drugs, he’d be talking about how nearly half of the black men he grew up with were on their way either into or out of what had become the harshest prison system in the world. And if he talked about why friends from his hood were doing five-year bids for possession of marijuana when nearly all the white people he’d gone to college with smoked it openly every day, he’d get so angry that he’d slam the research book on the table of the beautiful but deadly silent Lane Reading Room of Green Library of Stanford University. And if he slammed the book down, then everyone in the room would stare and all they would see would be his skin and his anger, and they’d think they knew something about him, and it would be the same something that had justified putting his great-grandpa H in prison, only it would be different too, less obvious than it once was.

Separated from everyone, in the fifteenth dungeon, was a small man with fiery brown eyes and wet towels wrapped around his head. For several days his legs had been black, and his gums were bleeding. Fifty-nine years old and exhausted beyond measure, he paced silently up and down, always the same five steps, back and forth. One, two, three, four, five, and turn . . . an interminable shuffle between the wall and door of his cell. He had no work, no books, nothing to write on. And so he walked. One, two, three, four, five, and turn . . . His dungeon was next door to La Fortaleza, the governor’s mansion in Old San Juan, less than two hundred feet away. The governor had been his friend and had even voted for him for the Puerto Rican legislature in 1932. This didn’t help much now. The governor had ordered his arrest. One, two, three, four, five, and turn . . . Life had turned him into a pendulum; it had all been mathematically worked out. This shuttle back and forth in his cell comprised his entire universe. He had no other choice. His transformation into a living corpse suited his captors perfectly. One, two, three, four, five, and turn . . . Fourteen hours of walking: to master this art of endless movement, he’d learned to keep his head down, hands behind his back, stepping neither too fast nor too slow, every stride the same length. He’d also learned to chew tobacco and smear the nicotined saliva on his face and neck to keep the mosquitoes away. One, two, three, four, five, and turn . . . The heat was so stifling, he needed to take off his clothes, but he couldn’t. He wrapped even more towels around his head and looked up as the guard’s shadow hit the wall. He felt like an animal in a pit, watched by the hunter who had just ensnared him. One, two, three, four, five, and turn . . . Far away, he could hear the ocean breaking on the rocks of San Juan’s harbor and the screams of demented inmates as they cried and howled in the quarantine gallery. A tropical rain splashed the iron roof nearly every day. The dungeons dripped with a stifling humidity that saturated everything, and mosquitoes invaded during every rainfall. Green mold crept along the cracks of his cell, and scarab beetles marched single file, along the mold lines, and into his bathroom bucket. The murderer started screaming. The lunatic in dungeon seven had flung his own feces over the ceiling rail. It landed in dungeon five and frightened the Puerto Rico Upland gecko. The murderer, of course, was threatening to kill the lunatic. One, two, three, four, five, and turn . . . The man started walking again. It was his only world. The grass had grown thick over the grave of his youth. He was no longer a human being, no longer a man. Prison had entered him, and he had become the prison. He fought this feeling every day. One, two, three, four, five, and turn . . . He was a lawyer, journalist, chemical engineer, and president of the Nationalist Party. He was the first Puerto Rican to graduate from Harvard College and Harvard Law School and spoke six languages. He had served as a first lieutenant in World War I and led a company of two hundred men. He had served as president of the Cosmopolitan Club at Harvard and helped Éamon de Valera draft the constitution of the Free State of Ireland.5 One, two, three, four, five, and turn . . . He would spend twenty-five years in prison—many of them in this dungeon, in the belly of La Princesa. He walked back and forth for decades, with wet towels wrapped around his head. The guards all laughed, declared him insane, and called him El Rey de las Toallas. The King of the Towels. His name was Pedro Albizu Campos.

The single book that has influenced me most is probably the last book in the world that anybody is gonna want to read: Thucydides’ History of the Peloponnesian War. This book is dense, difficult, long, full of blood and guts. It wasn’t written, as Thucydides himself attests at the start, to be easy or fun. But it is loaded with hardcore, timeless truths and the story it tells ought to be required reading for every citizen in a democracy. Thucydides was an Athenian general who was beaten and disgraced in a battle early in the 27-year conflagration that came to be called the Peloponnesian War. He decided to drop out of the fighting and dedicate himself to recording, in all the detail he could manage, this conflict, which, he felt certain, would turn out to be the greatest and most significant war ever fought up to that time. He did just that. Have you heard of Pericles’ Funeral Oration? Thucydides was there for it. He transcribed it. He was there for the debates in the Athenian assembly over the treatment of the island of Melos, the famous Melian Dialogue. If he wasn’t there for the defeat of the Athenian fleet at Syracuse or the betrayal of Athens by Alcibiades, he knew people who were there and he went to extremes to record what they told him.Thucydides, like all the Greeks of his era, was unencumbered by Christian theology, or Marxist dogma, or Freudian psychology, or any of the other “isms” that attempt to convince us that man is basically good, or perhaps perfectible. He saw things as they were, in my opinion. It’s a dark vision but tremendously bracing and empowering because it’s true. On the island of Corcyra, a great naval power in its day, one faction of citizens trapped their neighbors and fellow Corcyreans in a temple. They slaughtered the prisoners’ children outside before their eyes and when the captives gave themselves up based on pledges of clemency and oaths sworn before the gods, the captors massacred them as well. This was not a war of nation versus nation, this was brother against brother in the most civilized cities on earth. To read Thucydides is to see our own world in microcosm. It’s the study of how democracies destroy themselves by breaking down into warring factions, the Few versus the Many. Hoi polloi in Greek means “the many.” Oligoi means “the few.” I can’t recommend Thucydides for fun, but if you want to expose yourself to a towering intellect writing on the deepest stuff imaginable, give it a try.