By Lee Bernstein
Within the Nineteen Seventies, whereas politicians and activists open air prisons debated the correct reaction to crime, incarcerated humans contributed to shaping these debates even though a huge diversity of exceptional political and literary writings. Lee Bernstein explores the forces that sparked a dramatic ''prison artwork renaissance,'' laying off gentle on how incarcerated humans produced robust works of writing, functionality, and visible paintings. those incorporated every little thing from George Jackson's innovative Soledad Brother to Miguel Piñero's acclaimed off-Broadway play and Hollywood movie brief Eyes . a unprecedented diversity of felony programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to persuade the Black Arts circulate, the Nuyorican writers, ''New Journalism,'' and political theater, one of the most vital aesthetic contributions of the last decade. by means of the Nineteen Eighties and '90s, prisoners' academic and inventive courses have been scaled again or eradicated because the ''war on crime'' escalated. yet by means of then those prisoners' phrases had crossed over the wall, aiding many american citizens to reconsider the which means of the partitions themselves and, eventually, the that means of the society that produced them. by means of the Nineteen Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the ''war on crime'' escalated. yet by way of then those prisoners' phrases had crossed over the wall, assisting many americans to reconsider the which means of the partitions themselves and, finally, the which means of the society that produced them.
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Within the Nineteen Seventies, whereas politicians and activists open air prisons debated the correct reaction to crime, incarcerated humans assisted in shaping these debates although a huge variety of exceptional political and literary writings. Lee Bernstein explores the forces that sparked a dramatic ''prison artwork renaissance,'' laying off gentle on how incarcerated humans produced strong works of writing, functionality, and visible artwork.
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Additional info for America Is the Prison: Arts and Politics in Prison in the 1970s
Thus, existing institutions—in this case the criminal justice system—could be used to tell very different kinds of stories about state power, citizenship, and inequality. Rather than seeing the police as representatives of a racist, oppressive state, conservative intellectuals emphasized the ways individual officers interacted with criminals. William Ker Muir reframed the politics of crime control in terms that emphasized individual interaction rather than state control and inequality of power.
For Moynihan, alleviating poverty required changing the culture of African American families and communities. For Wilson, controlling crime required similar long-term social and cultural transformations. In the meantime, if social disorganization and damage resulted in criminality, poor black communities needed intensive, communitylevel policing and clear consequences for deviation from majority norms. For example, City Politics (1963), which Wilson coauthored with Edward C. Banfield, argued that the primary reason for low African American political participation was “the social disorganization which is characteristic of lower-class Negroes and which is reflected in their high rates of crime, delinquency, desertion, divorce, and illegitimacy.
22 By seeing the political rebellion and what amounted to a police riot in terms of “disorder,” Nixon effectively absolved the Chicago police of any responsibility for the melee and reframed the event’s meaning in time for the general election. ” In a society with free elections, Nixon argued, there was no place for protest. This understanding of “civil rights” would be unrecognizable to those advocating for racial equality. Because the ads appeared in the months after Martin Luther King’s assassination and after consecutive summers of tension and violence between police officers and African Americans, this marked a significant reversal and diffusion of previous meanings of the term.
America Is the Prison: Arts and Politics in Prison in the 1970s by Lee Bernstein