Muske, Carol

Authority Sources

The Art of Not Bowing

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				<title>The Art of Not Bowing: Writing by Women in Prison</title>
				<author>Carol Muske</author>

In July 1973 I wrote an article for <emph><title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title></emph> about a hunger strike then taking place at the Women's House of Detention (New York City Correctional
				Institution for Women, housing around 400 detention and sentenced women) on
				Riker's Island. I used a pseudonym for the article because I was working at the time
				at the prison as a mental health worker as well as teaching a poetry class, and I
				wanted to keep both occupations. Many of the women in my class were involved in the strike and were emphatic about the significance of their stand, although
				traditionally women at Riker's were notoriously apolitical, even downright reactionary. Strikes had taken place before, but on issues such as cosmetics (the women
				had wanted an Avon lady), more dances and recreation time or flashier products in
				commissary. 
			This strike was different. The women were demanding, among other things, a legal
				library, an end to massive and lax prescription of "diagnostic" medication, decent
				food, and limitation of solitary confinement to three days. At the Women's House,
				where an old adage ran "all riots end at mealtime," this was pretty heady stuff.
			The article in <emph>The Village Voice</emph> (July 26, 1973) was supposed to get the world (or at
				least Manhattan) listening and to familiarize people with a woman's situation in
				prison: <quote>... incarceration for women is a somewhat different experience than it is
					for men. Male prisoners are expected to be political in one form or another,
					they are far better legally informed, and an atmosphere of "bonding" is
					prevalent. (They are also considered more "trainable"—more vocational rehab
					programs exist for men on Riker's Island.)</quote>
			
			The administration broke the back of the strike in its sixth day by separating the
				ringleaders, transferring them to different housing areas, or locking them in the
				"bing" (solitary). But it was too late. The article appeared and provoked a reaction
				from the community: pressure was put on the warden. A few of the women's demands
				were met: a legal library was established, kitchen conditions were improved, and
				other steps were taken. Someone from the class hand-printed a sign and put it up in
				the classroom: WORDS CAN TURN THEM AROUND. 
			This was a milestone. I had been teaching the class for about a year and felt that
				although the women's response had been overwhelmingly enthusiastic, I was getting
				nowhere in the actual teaching of writing. It wasn't that the women were intimidated
				by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane.
				When I first suggested the idea of a writing workshop to the warden, she scoffed at
				it. "These women don't write," she said. "They don't read. The overall educational
				level is poor. Reading, writing, comprehension... all very low." At the first class,
				I learned that all the women "wrote"—they came to class lugging diaries, journals,
				manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell";
				poetry was a tradition; poems were written, read, copied by hand, and passed
				around—a publishing network. No one owned a poem. All the poems rhymed, and all were
				either sentimental love/religious verse or political rhetoric. My failure had been
				the inability to let them see alternatives: a poem was not always an escape, a
				fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article,
				which was about them, about their very real lives in clear, simple language, did it.
				Someone said that a poem could be like reporting on your life, telling the story of your life—journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who
				sat all day in front of the television watching commercials about getting away
				from it all and listening to the planes (one every three minutes) take off from La Guardia a few hundred yards across the water from the prison, wrote the first.
				(Millie had been a "hearts and flowers" verse writer: her poems were filled with
				giggly sunsets"): 
			<lg>
				<head>Fly Me, I'm Mildred</head><head/>
				<l>Finger my earring as I lean low</l>
				<l>over your bomber cocktail</l>
				<l>I've been known</l>
				<l>to put you on a throne</l>
				<l>send you off alone (not united)</l>
				<l>through the tomb-boom roar</l>
				<l>you get what you’re asking for</l>
				<l>when you fly me, honey,</l>
				<l>I'm Mildred.</l>
			</lg>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/>
			<lg>
				<head>Personally</head>
				<l> So you spoke to me in silence</l>
				<l>in the ice man's choir </l>
				<l>and I dangled all the while</l>
			</lg>
			<lg>
				<l>You said (in silence) </l>
				<l>live each day </l>
				<l>spittin' on Fifth Avenue </l>
				<l>fox-trottin' in hell... </l>
			</lg>
			<lg>
				<l>So we ain’t home— </l>
				<l>we're together </l>
			</lg>
			<lg>
				<l>Smile: </l>
				<l>I take it personally</l>
			</lg>
			They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Fyodor Dostoyevsky" ref="http://www.wikidata.org/entity/Q991">Dostoyevsky</persName>, the long tradition of
				writers in prison. I read them poems. Another woman, <persName cert="high" type="real">Elizabeth Powell</persName>, came to class
				with a poem about homosexuality which was explicit, honest, and skillfully done.
				The class praised it—Elizabeth left the class that night, made a sheaf of copies by
				hand, and passed it "on the vine." The next time I arrived at the prison, I was
				called into the warden's office. A member of my class, the warden said, had written
				a poem about her "unique perversion" and had implied, she said, that there were also
				correction officers who were homosexual, one in particular. She spoke of libel,
				telling me that I should have confiscated the poem immediately, or at least made
				sure that it didn’t go beyond the class. (Though homosexuality was indeed common—the "only game" in the prison, the warden steadfastly refused to admit that she had
				any more than a few "deviants" on her hands, whom she described as hard-core—in
				other words, gay even on the outside. Actually, as is the case in most women's
				prisons, homosexual relationships were standard even for straights, for the simple
				reason that human beings need physical intimacy and affection when they are confined
				to correctional institutions and cut off from relationships available to them
				outside the walls.)Definitions of personal sexuality tend to change behind bars.
				Upon release, some women remain "changed," while the majority of former prisoners return to heterosexual lifestyles. The warden deeply feared homosexuality; any
				manifestation of "butch" conduct was enough to tag an inmate a troublemaker and
				"male attire" was expressly forbidden in the rules guide. Correction officers were
				warned not to wear pants to work, and thus their uniform remained skirted.
				(Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's
				artificial notion of femininity.)
			After this incident, I was informed that the poem had been confiscated and that
				Elizabeth Powell had been placed in solitary confinement pending a hearing by the
				disciplinary board. I was told that I would be allowed to continue the poetry class
				for the time being, but that if another incident like this took place, I would be
				asked to leave the prison. The warden sincerely hoped that I had "learned a
				lesson."
			I had. It was just as I had told them: a dramatic testimony to the power of
				words—and, I thought, one of the stupidest things I have ever done. It was easy for me
				to drop in and talk about "getting it down right" and being honest in writing—I went
				home every night. For me, there was no danger of being thrown in solitary, having my
				personal papers raided, or worse. It occurred to me that even when I had written my
				ever-so-honest article, I had used a pseudonym to protect myself. There were
				obviously bigger risks than job loss at stake for women or men who chose to write
				while incarcerated; risks I had clearly not understood. Words could indeed turn
				around the authorities, but could also turn them into the oppressors they actually
				were.
			Elizabeth Powell was in the bing for three weeks. When she came back to class, she
				was ready to go another round (she had written 25 poems, all dealing with
				homosexuality, while in lock), but I had made a decision. I explained how I felt as
				an outsider, with no right to tell them how to write in this volatile situation, but
				I asked that they make a distinction between public and private poems to protect
				themselves from exactly this kind of censorship/punishment. Private poems were,
				obviously, ones you could get thrown in the bing for; public poems could be
				"published." At this point, I also went back to the warden and told her she should
				not be surprised at some "emotional" poems; I described the class as "therapy" and
				she agreed that that was a good way of viewing it.
			The class flourished. The women began to express <emph>themselves</emph>, to find words underneath
				and in the midst of the gloss of everyday language. Some discovered (recovered?) a
				subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I
				was here."
			I had quit my mental health worker job and was concentrating on expanding FREE SPACE,
				as the class had come to be called. The NEA had given us some funding, as did Poets
				&amp; Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club
				mailed boxes of overstocked paperback books; we amassed our own library and <persName cert="high" type="real">Ted Slate</persName> of <emph><title key="Newsweek" ref="http://www.wikidata.org/entity/Q188413">Newsweek</title></emph> donated supplies and equipment.
			<persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName cert="high" type="real">Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to
				come back to work with us, taught poetry and library skills. Each teacher learned to
				cope in his or her own way with the trials of trying to run a writing class in a
				prison. Each class was like a hypothetical leap: it would take place 1) IF the
				officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women
				were there and not a) in court b) in solitary c) in another part of the prison d)
				watching television e) sleeping and/or drugged f) transferred to another floor g)
				transferred to another prison h) out on bail (good news); 3) IF the officer on
				hall duty okayed the passes; 4) IF the warden had not scheduled something else in your classroom (usually a course in etiquette); 5) IF there was no "contraband,"
				i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks),
				tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).
			Somehow, the class took place and thrived. Visitors came to read and comment on
				student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halpern" ref="http://www.wikidata.org/entity/Q55941553">Daniel Halpern</persName>, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For
				a long time, everyone learned. Information was taken in, absorbed—classes were spent writing and rewriting, letting off steam.
			Almost four years later, most of the women from the old class had been transferred or
				freed (detention women often spend two years waiting for trial), but emphasis was
				still placed on "getting along." We all stressed writing as craft. Classes were run
				as any <emph>outside</emph> workshop would be, except no one ever published anything.
			The poetry class at this time was full of women who were considered potential
				security threats—in other words, intelligent, outspoken, and funny. Some were
				"controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars;
				<persName cert="high" type="real">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about
				everything; <persName>Gloria Jensen</persName>, whose imagination was like a vaudeville show; Assata Shakur/Joanne Chesimard—alleged leader of the Black Liberation Army, brilliant and
				talented, with a <emph><title key="Cool Hand Luke" ref="http://www.wikidata.org/entity/Q684150">Cool-Hand Luke</title></emph> aura of insouciance, compassion, and tenacity.
				(Assata was considered so dangerous that the prison required her to have a
				continual guard-escort.) These women were all good writers. They had learned craft
				and practiced it—and wanted more. They wanted to go further than "therapeutic"
				writing or workshop poems. They were writing dynamite.
			After four years, there was a huge pile of handwritten poems, Fannie's log with the
				names of every woman who had come to class, some incredible memories, and that was
				all. We went to the prison week after week and no one ever saw or heard what the
				women wrote: the voices were never heard outside, and on the inside, only in class.
				I began to feel that something had to give—no matter what risks were involved for
				the women (if they should decide to publish) and for FREE SPACE as a writing
				program. It was Catch 22—we were losing either way. At this stage, the women were
				denied the natural fulfillment of self-expression, which is publication. If we
				published their writing, however, we stood to lose the writing program itself. I
				began to fantasize about getting the word out: if people could only hear some of
				this stuff, I thought, no one would ever ask me again about either the <emph>quality</emph> of
				prisoners' writing or the reasons for running workshops in prisons. We would have
				evidence in writing. Best of all, the women would have the audience they deserved. I
				began to draft a rough script, a framework for some of the poems.
			What happened to Juanita Reedy made up everybody's mind about publication. Juanita
				went to Elmhurst Hospital to have her child and was treated so inhumanely that she
				refused to let prison doctors touch her upon her return. She wrote a poem about her
				experience, which she developed into a longer "Birth Journal." She published it in
				<emph><title key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</title></emph>, the feminist journal. In the same issue there was an article about
				FREE SPACE and a poem by Carole Ramer. The issue began to circulate in the prison.
				Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major
				magazine. One night in class she read this poem:
			<lg>
				<head><title>Butch </title></head>
				<l>You should have told me </l>
				<l> About your dick </l>
				<l> Stashed inside your bureau drawer</l>
				<l>I woulda believed you</l>
			</lg>
			<lg>
				<l>Ya say ya wanna be my daddy </l>
				<l>Ya say ya wanna be my daddy </l>
				<l> Ya say ya wanna be my daddy</l>
			</lg>
			<lg>
				<l>Yeah! Run it! I'm ready! </l>
				<l> My mamma warned me about you</l>
				<l> She taught me about you </l>
				<l> She beat me about you</l>
			</lg>
			<lg>
				<l>But I thought you were a man...</l>
			</lg>
			<lg>
				<l>And I lower my eyes </l>
				<l> And I lower my back</l>
				<l> And I swivel my hips </l>
				<l> And I lighten my voice </l>
				<l> And I powder my nose </l>
				<l> And I blue up my eyes </l>
				<l> And I redden my cheeks </l>
				<l> And I jump when you call </l>
				<l> And I cook and I knit</l>
			</lg>
			<lg>
				<l>And I clean and I sew</l>
				<l> And it is all so cozy </l>
				<l> You lying in my arms</l>
				<l> (If I am not being too forward, </l>
				<l> too unladylike)</l>
			</lg>
			<lg>
				<l>But who will know, anyway, </l>
				<l> That you were in my arms </l>
				<l> Not me in yours</l>
			</lg>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/>
			<lg>
				<l>And if it comes to it</l>
				<l> To save face </l>
				<l> You can lie </l>
				<l> I'll back you up </l>
				<l> I've gotten very good at it lately</l>
			</lg>
			<lg>
				<l>You should have told me </l>
				<l> About your status— </l>
				<l> I would have bowed to you </l>
				<l> What's one more bow, anyway?</l>
			</lg>
			<lg>
				<l>I bow to the dollar </l>
				<l> I bow to the scholar </l>
				<l> I bow to the white house </l>
				<l> I bow to the church mouse </l>
				<l> I bow to tradition </l>
				<l> I bow to contrition </l>
				<l> I bow to the butcher </l>
				<l> I bow to the baker </l>
				<l> I bow to the goddamn </l>
				<l> lightbulb maker—</l>
			</lg>
			<lg>
				<l>Who the hell am I anyway </l>
				<l> Not to bow?</l>
			</lg>
			<lg>
				<l>What else do I know how to do?</l>
			</lg>
			<lg>
				<l>But you should have told me baby </l>
				<l> You should have hipped me momma </l>
				<l> I didn’t know you would pull it out </l>
				<l> And strap it on</l>
			</lg>
			<lg>
				<l>Fucking me mercilessly </l>
				<l> Long stroking me </l>
				<l> So that even my shadow is moaning</l>
			</lg>
			<lg>
				<l>But damn baby </l>
				<l> I didn't know </l>
				<l> You coulda saved me the trip—</l>
			</lg>
			<lg>
				<l>I thought I was on my way </l>
				<l> To a garden </l>
				<l> Where fruit ain’t forbidden </l>
				<l> Where snakes do not crawl to seduce </l>
				<l> I thought for a second </l>
				<l> That earth was a good thing </l>
				<l> That acting had played out </l>
				<l> And cotillions were outlawed </l>
				<l> That bingo was over </l>
				<l> And ladies had drowned in their tea </l>
			</lg>
			<lg>
				<l>But now that I'm hip momma </l>
				<l> Come, fuck me.</l>
			</lg>
			(Copyright Assata Shakur/Joanne Chesimard) 
			Some of Assata's poems were accepted for publication in a literary magazine. Poets
				&amp; Writers gave us a grant to do an anthology of students' writing which Gail and
				I compiled. We published it through the Print Center in Brooklyn and called it <emph><title>Songs from a Free Space: Writings by Women in Prison</title></emph>. The anthology was sold in New
				York bookstores and distributed to the women in the classes. It contained some of the best work done in the classes.
			By now I had handed over a
				rough script to the poetry class and an idea about doing some kind of theater piece.
				The women put together a revue of loosely scripted poems, songs, and vignettes
				called <emph><title>Next Time</title></emph>. They memorized lines and improvised costumes. <persName>Karen Sanderson</persName>, a
				friend and videotape expert, arrived at the prison one Sunday with a crew of women
				(after endless haggling for permission; we told the Corrections Department that we
				needed the videotape as a rehearsal tool for a play) and taped for nine hours
				straight. Finally, after months of editing, a half-hour tape emerged which documents
				the poems, songs, love, and exasperation of some of these incredible women. (This
				tape is available to anyone interested.)
			In September 1975, FREE SPACE merged with ART WITHOUT WALLS, another arts project for
				women in prison. Now we were able to offer graphic arts and dance, in addition to
				having a larger staff. The publishing idea had fulfilled itself, a renaissance.
				Juanita had begun a book about her experiences; another woman, <persName cert="high" type="real">Isabelle Newton</persName>, was
				collecting her poems in manuscript. Then Assata, who had been held in solitary
				for one year in New Jersey, whose cell was raided by guards every day in search of
				contraband, and who had been beaten by the prison goon squad on numerous
				occasions, completed her book of poems and wrote two chapters of a book, an account
				of her arrest and life in prison. The warden stopped me in the hall one day and told
				me that she knew we were collaborating on a book with Assata and Juanita. She told
				me she hadn't forgotten the Elizabeth Powell case.
			On November 26, 1975, Gail was preparing to leave home to go to her fiction class
				(filled with new students) when the phone rang. It was Deputy Freeman, the WHD
				Program Director, who advised her not to come to class: the program had been
				cancelled. We were not allowed to do anything after that except to pick up our books
				and any program belongings; we couldn’t say good-bye to anyone or discuss plans for
				any of their work.
			Naturally, we are contesting this decision, but there isn't much hope in appealing a
				warden's whim. It is, after all, her turf. Official reasons for the cancellation
				were said to be duplication of services (they stated that the public school provided
				the same type of classes) and irregularity of classes. The warden refused, however
				to put these reasons in writing for us. It is clear that the writing classes were
				taken seriously only when the women wrote seriously about their lives and <emph>published</emph>
				those writings. Poetry is safe, women are safe until they begin to make sense and
				communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of
				self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn
				them around, but sometimes having all the right words is small change. "Before
				despairing, speak of it," said a woman one day in class. Even when writing of
				despair there's the fact—named and held to the light for a moment—maybe even understood.
			WITHOUT WALLS/FREE SPACE is continuing to work at a children's center, a drug clinic,
				and another women’s prison. It’s important to maintain the lifelines between
				people on the outside and those inside.
			But what happened at the Women's House of Detention can easily happen again.
				Especially if publishing is, as it should be, part of the writing project. Prison
				writers have a right to be heard as does any writer. Their voices are too important to be missed. Publishing is part of the art of not bowing. Each time a man or
				woman in a cell
			<lg>
				<head><title>Next Time </title>
					<lb/>(group poem from the videotape </head>
				<l>of the same name) </l>
				<l> You don’t hear me </l>
				<l> You don't see me </l>
			</lg>
			<lg>
				<l>I'm the one just a step behind </l><l>you </l>
				<l> a split second before the light changes on the</l>
				<l> corner. </l>
				<l> The face that breaks the glass without a sound </l>
				<l> The hands that take your money on a </l>
				<l> screaming train uptown.</l>
			</lg>
			<lg>
				<l>Ladies. I had nowhere to take myself tonight </l>
				<l> Except to myself </l>
				<l> To my own face </l>
				<l> Reflected in yours </l>
				<l> And my own voice </l>
				<l> telling me </l>
				<l> THERE IS NO NEXT TIME FOR ANY OF US </l>
			</lg>
			<lg>
				<l>Just the husbands and families waiting </l>
				<l> Just the habits and fast money waiting </l>
			</lg>
			<lg>
				<l>The kids in the street</l> 
				<l>The kids in strangers' homes</l> 
				<l>The kids in our bellies</l> 
				<l>The kids we are inside</l> 
				<l/><l>And the lies we tell ourselves</l> 
				<l>To go on living</l> 
				</lg>
				<lg>
					<l>LISTEN</l> 
					<l>No one got over on you tonight</l> 
					<l>No one lied here tonight</l><l/> 
					<l>We told the truth</l> 
					<l>And the truth is what you see before</l><l>your eyes</l><l/> 
					<l>Ladies</l> 
					<l>Before you forget, ladies,</l> 
					<l>Till the "next time" My best.</l>
			</lg></div>
		</body>
		<back>
			<div>Carol Muske is a New York poet and assistant editor of Anteus. Her book, <title><emph>Camouflage</emph></title>,
				was published in 1975 (University of Pittsburgh Press). She directs the prison
				program Art Without Walls/Free Space at Bedford Hills Correctional Facility for
				Women.</div>
		</back>
	</text>
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The Art of Not Bowing: Writing by Women in Prison

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				<funder>Bucknell University Humanities Center</funder>
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			<div><head><title>The Art of Not Bowing: Writing by Women in Prison</title></head>
			<byline><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485" role="aut">Carol Muske</persName></byline></div>
			<div><lg>
				<l>Who the hell am l anyway</l>
				<l>Not to bow?</l>
				<l>(<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>)</l>
			</lg>

In July 1973 I wrote an article for <title key="Village voice (Greenwich Village, New York, N.Y.)" ref="http://viaf.org/viaf/198145541783196601418/">The Village Voice</title> about a hunger strike then
				taking place at the <placeName key="Women's House of Detention (New York City Correctional Institution for Women," ref="https://en.wikipedia.org/wiki/New_York_Women%27s_House_of_Detention">Women's House of Detention (New York City Correctional
				Institution for Women,</placeName> housing around 400 detention and sentenced women) on
				<placeName key="Rikers Island" ref="http://viaf.org/viaf/315527979/">Riker's Island.</placeName> I used a pseudonym for the article because I was working at the time
				at the prison as a mental health worker as well as teaching a poetry class, and I
				wanted to keep both occupations. Many of the women in my class were involved in the
				strike and were emphatic about the significance of their stand, although
				traditionally women at Riker's were notoriously apolitical, even downright reaction¬
				ary. Strikes had taken place before, but on issues such as cosmetics (the women
				had wanted an Avon lady), more dances and recreation time or flashier products in
				commissary. 
			This strike was different. The women were demanding, among other things, a legal
				library, an end to massive and lax prescription of "diagnostic" medication, decent
				food, and limitation of solitary confinement to three days. At the Women's House,
				where an old adage ran "all riots end at mealtime," this was pretty heady stuff.
			The article in <title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title> (<date when="1973-07-26">July 26, 1973</date>) was supposed to get the world (or at
				least <placeName key="Manhattan" ref="http://www.wikidata.org/entity/Q11299">Manhattan</placeName>) listening and to familiarize people with a woman’s situation in
				prison: <quote>incarceration for women is a somewhat different experience than it is
					for men. Male prisoners are expected to be political in one form or another,
					they are far better legally informed, and an atmosphere of "bonding" is
					prevalent. (They are also considered more "trainable"—more vocational rehab
					programs exist for men on Riker's Island.)</quote>
			
			The administration broke the back of the strike in its sixth day by separating the
				ringleaders, transferring them to different housing areas, or locking them in the
				"bing" (solitary). But it was too late. The article appeared and provoked a reaction
				from the community: pressure was put on the warden. A few of the women’s demands
				were met: a legal library was established, kitchen conditions were improved, and
				other steps were taken. Someone from the class hand-printed a sign and put it up in
				the classroom: WORDS CAN TURN THEM AROUND. 
			This was a milestone. I had been teaching the class for about a year and felt that
				although the women's response had been overwhelmingly enthusiastic, I was getting
				nowhere in the actual teaching of writing. It wasn’t that the women were intimidated
				by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane.
				When I first suggested the idea of a writing workshop to the warden, she scoffed at
				it. "These women don’t write," she said. "They don’t read. The overall educational
				level is poor. Reading, writing, comprehension... all very low." At the first class,
				I learned that all the women "wrote"—they came to class lugging diaries, journals,
				manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell“;
				poetry was a tradition; poems were written, read, copied by hand, and passed
				around—a publishing network. No one owned a poem. All the poems rhymed, and all were
				either sentimental love/religious verse or political rhetoric. My failure had been
				the inability to let them see alternatives: a poem was not always an escape, a
				fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article,
				which was about them, about their very real lives in clear, simple language, did it.
				Someone said that a poem could be like reporting on your life, telling the story
				of your life— journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who
				sat all day in front of the television watching commercials about getting away
				from it all and listening to the planes (one every three minutes) take off from <placeName key="La Guardia" ref="https://en.wikipedia.org/wiki/LaGuardia_Airport">La
				Guardia</placeName> a few hundred yards across the water from the prison, wrote the first.
				(Millie had been a "hearts and flowers" verse writer: her poems were filled with
				giggly sunsets“): 
			<lg>
				<head><title>Fly Me, l'm Mildred</title></head>
				<l>Finger my earring as I lean low</l>
				<l>over your bomber cocktail</l>
				<l>I've been known</l>
				<l>to put you on a throne</l>
				<l>send you off alone (not united)</l>
				<l>through the tomb-boom roar</l>
				<l>you get what you’re asking for</l>
				<l>when you fly me, honey,</l>
				<l>l'm Mildred.</l>
			</lg>
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			<lg>
				<head><title>Personally</title></head>
				<l> So you spoke to me in silence</l>
				<l>in the ice man's choir </l>
				<l>and I dangled all the while</l>
			</lg>
			<lg>
				<l>You said (in silence) </l>
				<l>live each day </l>
				<l>spittin' on <placeName key="Fifth Avenue" ref="http://www.wikidata.org/entity/Q109858">Fifth Avenue</placeName> </l>
				<l>fox-trottin' in hell</l>
			</lg>
			<lg>
				<l>So we ain’t home— </l>
				<l>we’re together </l>
			</lg>
			<lg>
				<l>Smile: </l>
				<l>I take it personally</l>
			</lg>
			They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Dostoïevski, Fedor Mikhaïlovitch" ref="http://viaf.org/viaf/6074160486121805180007/">Dostoyevsky</persName>, the long tradition of
				writers in prison. I read them poems. Another woman, <persName>Elizabeth Powell</persName>, came to class
				with a poem about homosexuality which was explicit, honest, and skillfully done.
				The class praised it Elizabeth left the class that night, made a sheaf of copies by
				hand, and passed it "on the vine." The next time I arrived at the prison, I was
				called into the warden’s office. A member of my class, the warden said, had written
				a poem about her "unique perversion" and had implied, she said, that there were also
				correction officers who were homosexual, one in particular. She spoke of libel,
				telling me that I should have confiscated the poem immediately, or at least made
				sure that it didn’t go beyond the class. (Though homosexuality was indeed common—
				the "only game" in the prison, the warden steadfastly refused to admit that she had
				any more than-a few "deviants" on her hands, whom she described as hard-core—in
				other words, gay even on the outside. Actually, as is the case in most women's
				prisons, homosexual relationships were standard even for straights, for the simple
				reason that human beings need physical intimacy and affection when they are confined
				to correctional institutions and cut off from relationships available to them
				outside the walls. Definitions of personal sexuality tend to change behind bars.
				Upon release, some women remain "changed," while the majority of former prisoners
				return to heterosexual lifestyles. The warden deeply feared homosexuality; any
				manifestation of "butch" conduct was enough to tag an inmate a troublemaker and
				"male attire" was expressly forbidden in the rules guide. Correction officers were
				warned not to wear pants to work, and thus their uniform remained skirted.
				(Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's
				artificial notion of femininity.
			After this incident, I was informed that the poem had been confiscated and that
				<persName>Elizabeth Powell</persName> had been placed in solitary confinement pending a hearing by the
				disciplinary board. I was told that I would be allowed to continue the poetry class
				for the time being, but that if another incident like this took place, I would be
				asked to leave the prison. The warden sincerely hoped that I had "learned a
				lesson."
			I had. It was just as I had told them: a dramatic testimony to the power of
				words—and, thought, one of the stupidest things I have ever done. It was easy for me
				to drop in and talk about "getting it down right“ and being honest in writing—I went
				home every night. For me, there was no danger of being thrown in solitary, having my
				personal papers raided, or worse. It occurred to me that even when l had written my
				ever-so-honest article, I had used a pseudonym to protect myself. There were
				obviously bigger risks than job loss at stake for women or men who chose to write
				while incarcerated; risks l had clearly not understood. Words could indeed turn
				around the authorities, but could also turn them into the oppressors they actually
				were.
			Elizabeth Powell was in the bing for three weeks. When she came back to class, she
				was ready to go another round (she had written 25 poems, all dealing with
				homosexuality, while in lock), but I had made a decision. I explained how I felt as
				an outsider with no right to tell them how to write in this volatile situation, but
				I asked that they make a distinction between public and private poems to protect
				themselves from exactly this kind of censorship/punishment. Private poems were,
				obviously, ones you could get thrown in the bing for; public poems could be
				"published." At this point, I also went back to the warden and told her she should
				not be surprised at some "emotional" poems; I described the class as "therapy" and
				she agreed that that was a good way of viewing it.
			The class flourished. The women began to express themselves, to find words underneath
				and in the midst of the gloss of everyday language. Some discovered (recovered?) a
				subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I
				was here."
			I had quit my mental health worker job and was concentrating on expanding FREE SPACE,
				as the class had come to be called. The <orgName key="National Endowment for the Arts" ref="http://www.wikidata.org/entity/Q1967116">NEA</orgName> had given us some funding, as did Poets
				&amp; Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club
				mailed boxes of overstocked paperback books; we amassed our own library and <persName>Ted Slate</persName> of Newsweek donated supplies and equipment.
			<persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName>Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to
				come back to work with us, taught poetry and library skills. Each teacher learned to
				cope in his or her own way with the trials of trying to run a writing class in a
				prison. Each class was like a hypothetical leap: it would take place 1) IF the
				officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women
				were there and not a) in court b) in solitary c) in another part of the prison d)
				watching television e) sleeping and/or drugged f) transferred to another floor g)
				trans- ferred to another prison h) out on bail (good news); 3) IF the officer on
				hall duty okayed the passes; 4) IF the warden had not scheduled something else in
				your classroom (usually a course in etiquette); 5) IF there was no "contraband,"
				i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks),
				tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).
			Somehow, the class took place and thrived. Visitors came to read and comment on
				student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halper" ref="http://www.wikidata.org/entity/Q17411190">Daniel Halper</persName>n, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For
				a long time, everyone learned. Information was taken in, absorbed—classes were spent
				writing and rewriting, letting off steam.
			Almost four years later, most of the women from the old class had been transferred or
				freed (detention women often spend two years waiting for trial), but emphasis was
				still placed on getting along." We all stressed writing as craft. Classes were run
				as any outside workshop would be, except no one ever published anything.
			The poetry class at this time was full of women who were considered potential
				security threats—in other words, intelligent, outspoken, and funny. Some were
				"controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars;
				<persName key="Ramer, Carole J." ref="http://viaf.org/viaf/63352640/" cert="low">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about
				everything; <persName key="Jensen, Gloria H." ref="http://viaf.org/viaf/43354610/" cert="low">Gloria Jensen</persName>, whose imagination was like a vaudeville show; <persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur/Joanne Chesimard</persName>—alleged leader of the <orgName key="Black Liberation Army" ref="http://www.wikidata.org/entity/Q2545743">Black Liberation Army</orgName>, brilliant and
				talented, with a Cool-Hand Luke aura of insouciance, compassion, and tenacity.
				(Assata was considered so dangerous that the prison required her to have a
				continual guard-escort.) These women were all good writers. They had learned craft
				and practiced it—and wanted more. They wanted to go further than "therapeutic"
				writing or workshop poems. They were writing dynamite.
			After four years, there was a huge pile of handwritten poems, Fannie's log with the
				names of every woman who had come to class, some incredible memories, and that was
				all. We went to the prison week after week and no one ever saw or heard what the
				women wrote: the voices were never heard outside, and on the inside, only in class.
				I began to feel that something had to give—no matter what risks were involved for
				the women (if they should decide to publish)and for FREE SPACE as a writing
				program. It was Catch 22—we were losing either way. At this stage, the women were
				denied the natural fulfillment of self-expression, which is publication. If we
				published their writing, however, we stood to lose the writing program itself. I
				began to fantasize about getting the word out: if people could only hear some of
				this stuff, I thought, no one would ever ask me again about either the quality of
				prisoners' writing or the reasons for running workshops in prisons. We would have
				evidence in writing. Best of all, the women would have the audience they deserved. I
				began to draft a rough script, a framework for some of the poems.
			What happened to <persName>Juanita Reedy</persName> made up everybody's mind about publication. Juanita
				went to Elmhurst Hospital to have her child and was treated so inhumanely that she
				refused to let prison doctors touch her upon her return. She wrote a poem about her
				experience, which she developed into a longer <title>"Birth Journal."</title> She published it in
				<orgName key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</orgName>, the feminist journal. In the same issue there was an article about
				FREE SPACE and a poem by <persName>Carole Ramer</persName>. The issue began to circulate in the prison.
				Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major
				magazine. One night in class she read this poem:
			<lg>
				<head><title>Butch </title></head>
				<l>You should have told me </l>
				<l> About your dick </l>
				<l> Stashed inside your bureau drawer</l>
				<l> woulda believed you</l>
			</lg>
			<lg>
				<l>Ya say ya wanna be my daddy </l>
				<l> Va say ya wanna be my daddy </l>
				<l> Ya say ya wanna be my daddy</l>
			</lg>
			<lg>
				<l>Yeah! Run it! l'm ready! </l>
				<l> My mamma warned me about you</l>
				<l> She taught me about you </l>
				<l> She beat me about you</l>
			</lg>
			<lg>
				<l>But I thought you were a man.</l>
			</lg>
			<lg>
				<l>And I lower my eyes </l>
				<l> And I lower my back</l>
				<l> And I swivel my hips </l>
				<l> And I lighten my voice </l>
				<l> And I powder my nose </l>
				<l> And I blue up my eyes </l>
				<l> And I redden my cheeks </l>
				<l> And I jump when you call </l>
				<l> And I cook and I knit</l>
			</lg>
			<lg>
				<l>And I clean and I sew</l>
				<l> And it is all so cozy </l>
				<l> You lying in my arms</l>
				<l> (If I am not being too forward, </l>
				<l> too unladylike)</l>
			</lg>
			<lg>
				<l>But who will know, anyway, </l>
				<l> That you were in my arms </l>
				<l> Not me in yours</l>
			</lg>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/>
			<lg>
				<l>And if it comes to it</l>
				<l> To save face </l>
				<l> You can lie </l>
				<l> l'Il back you up </l>
				<l> I've gotten very good at it lately</l>
			</lg>
			<lg>
				<l>You should have told me </l>
				<l> About your status— </l>
				<l> I would have bowed to you </l>
				<l> What's one more bow, anyway?</l>
			</lg>
			<lg>
				<l>I bow to the dollar </l>
				<l> I bow to the scholar </l>
				<l> I bow to the white house </l>
				<l> I bow to the church mouse </l>
				<l> I bow to tradition </l>
				<l> I bow to contrition </l>
				<l> I bow to the butcher </l>
				<l> I bow to the baker </l>
				<l> I bow to the goddamn </l>
				<l> lightbulb maker—</l>
			</lg>
			<lg>
				<l>Who the hell am l anyway </l>
				<l> Not to bow?</l>
			</lg>
			<lg>
				<l>What else do I know how to do?</l>
			</lg>
			<lg>
				<l>But you should have told me baby </l>
				<l> You should have hipped me momma </l>
				<l> I didn’t know you would pull it out </l>
				<l> And strap it on</l>
			</lg>
			<lg>
				<l>Fucking me mercilessly </l>
				<l> Long stroking me </l>
				<l> So that even my shadow is moaning</l>
			</lg>
			<lg>
				<l>But damn baby </l>
				<l> I didn't know </l>
				<l> You coulda saved me the trip¬</l>
			</lg>
			<lg>
				<l>I thought I was on my way </l>
				<l> To a garden </l>
				<l> Where fruit ain’t forbidden </l>
				<l> Where snakes do not crawl to seduce </l>
				<l> I thought for a second </l>
				<l> That earth was a good thing </l>
				<l> That acting had played out </l>
				<l> And cotillions were outlawed </l>
				<l> That bingo was over </l>
				<l> And ladies had drowned in their tea </l>
			</lg>
			<lg>
				<l>But now that l'm hip momma </l>
				<l> Come, fuck me.</l>
			</lg>
			(@ <persName>Assata Shakur/Joanne Chesimard</persName>) 
			Some of Assata’s poems were accepted for publication in, a literary magazine. Poets
				&amp; Writers gave us a grant to do an anthology of students' writing which Gail and
				I compiled. We published it through the <orgName>Print Center in Brooklyn</orgName> and called it
				<title level="a">Songs from a Free Space: Writings by Women in Prison</title>. The anthology was sold in New
				York bookstores and distributed to the women in the classes.
			It contained some of the best work done in the classes. By now I had handed over a
				rough script to the poetry class and an idea about doing some kind of theater piece.
				The women put together a revue of loosely scripted poems, songs, and vignettes
				called Next Time. They memorized lines and improvised costumes. <persName key="Sanderson, Karen" ref="http://viaf.org/viaf/7163456189304813715/">Karen Sanderson</persName>, a
				friend and videotape expert, arrived at the prison one Sunday with a crew of women
				(after endless haggling for permission; we told the Corrections Department that we
				needed the videotape as a rehearsal tool for a play) and taped for nine hours
				straight. Finally, after months of editing, a half-hour tape emerged which documents
				the poems, songs, love, and exasperation of some of these incredible women. (This
				tape is available to anyone interested.)
			In September 1975, <orgName>FREE SPACE</orgName> merged with <orgName key="Art without Walls (Organization)" ref="http://viaf.org/viaf/157557651/">ART WITHOUT WALLS</orgName>, another arts project for
				women in prison. Now we were able to offer graphic arts and dance, in addition to
				having a larger staff. The publishing idea had fulfilled itself, a renaissance.
				Juanita had begun a book about her experiences; another woman, <persName>Isabelle Newton</persName>, was
				collecting her poems in manuscript. Then Assata, who had been held in solitary
				for one year in New Jersey, whose cell was raided by guards every day in search of
				contraband, and who had been beaten by the prison goon squad on numerous
				occasions, completed her book of poems and wrote two chapters of a book, an account
				of her arrest and life in prison. The warden stopped me in the hall one day and told
				me that she knew we were collaborating on a book with Assata and Juanita. She told
				me she hadn’t forgotten the Elizabeth Powell case.
			On <date when="1975-11-26">November 26, 1975</date>, Gail was preparing to leave home to go to her fiction class
				(filled with new students) when the phone rang. It was Deputy Freeman, the WHD
				Program Director, who advised her not to come to class: the program had been
				cancelled. We were not allowed to do anything after that except to pick up our books
				and any program belongings; we couldn’t say good-bye to anyone or discuss plans for
				any of their work.
			Naturally, we are contesting this decision, but there isn’t much hope in appealing a
				warden’s whim. It is, after all, her turf. Official reasons for the cancellation
				were said to be duplication of services (they stated that the public school provided
				the same type of classes) and irregularity of classes. The warden refused, however
				to put these reasons in writing for us. It is clear that the writing classes were
				taken seriously only when the women wrote seriously about their lives and published
				those writings. Poetry is safe, women are safe until they begin to make sense and
				communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of
				self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn
				them around, but sometimes having all the right words is small change. "Before
				despairing, speak of it," said a woman one day in class. Even when writing of
				despair there’s the fact—named and held to the light for a moment—maybe even under¬
				stood.
			WITHOUT WALLS/FREE SPACE is continuing to work at a children’s center, a drug clinic,
				and another women’s prison. It’s important to maintain the lifelines between
				people on the outside and those inside.
			But what happened at the Women's House of Detention can easily happen again.
				Especially if publishing is, as it should be, part of the writing project. Prison
				writers have a right to be heard as does any writer. Their voices are too impor¬
				tant to be missed. Publishing is part of the art of not bowing. Each time a man or
				woman in a cell
			<lg>
				<head><title>Next Time </title>
					<lb/>(group poem from the videotape </head>
				<l>of the same name) </l>
				<l> You don’t hear me </l>
				<l> You don't see me </l>
			</lg>
			<lg>
				<l>I'm the one just a step behind you </l>
				<l> a split second before the light changes on the</l>
				<l> corner. </l>
				<l> The face that breaks the glass without a sound </l>
				<l> The hands that take your money on a </l>
				<l> screaming train uptown.</l>
			</lg>
			<lg>
				<l>Ladies. I had nowhere to take myself tonight </l>
				<l> Except to myself </l>
				<l> To my own face </l>
				<l> Reflected in yours </l>
				<l> And my own voice </l>
				<l> telling me </l>
				<l> THERE IS NO NEXT TIME FOR ANY OF US </l>
			</lg>
			<lg>
				<l>Just the husbands and families waiting </l>
				<l> Just the habits and fast money waiting </l>
			</lg>
			<lg>
				<l>The kids in the street</l> 
				<l>The kids in strangers' homes</l> 
				<l>The kids in our bellies</l> 
				<l>The kids we are inside</l> 
				<l/><l>And the lies we tell ourselves</l> 
				<l>To go on living</l> 
				</lg>
				<lg>
					<l>LISTEN</l> 
					<l>No one got over on you tonight</l> 
					<l>No one lied here tonight</l><l/> 
					<l>We told the truth</l> 
					<l>And the truth is what you see before</l><l>your eyes</l><l/> 
					<l>Ladies</l> 
					<l>Before you forget, ladies,</l> 
					<l>Till the "next time" My best.</l>
			</lg></div>
		</body>
		<back>
			<div><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> is a New York poet and assistant editor of Anteus. Her book, <title>Camouflage</title>,
				was published in 1975 (University of Pittsburgh Press). She directs the prison
				program Art Without Walls/Free Space at Bedford Hills Correctional Facility for
				Women.</div>
		</back>
	</text>
</TEI>

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