The Play's the Thing

My class, although I did not know this when I began teaching, had the most literate and accomplished writers in the prison. And when I read the first batch of scenes it was immediately apparent that among these students was exceptional talent.

The class members had a keen eye for detail, had lived through the moral and physical struggles of prison life and had the ability to capture the patois of the urban poor and the prison underclass. They were able to portray in dramatic scenes and dialogue the horror of being locked in cages for years. And although the play they collectively wrote is fundamentally about sacrifice -- the sacrifice of mothers for children, brothers for brothers, prisoners for prisoners -- the title they chose was "Caged." They made it clear that the traps that hold them are as present in impoverished urban communities as in prison.

The mass incarceration of primarily poor people of color, people who seldom have access to adequate legal defense and who are often kept behind bars for years for nonviolent crimes or for crimes they did not commit, is one of the most shameful mass injustices committed in the United States. The 28 men in my class have cumulatively spent 515 years in prison. Some of their sentences are utterly disproportionate to the crimes of which they are accused. Most are not even close to finishing their sentences or coming before a parole board, which rarely grants first-time applicants their liberty. Many of them are in for life. One of my students was arrested at the age of 14 for a crime that strong evidence suggests he did not commit. He will not be eligible for parole until he is 70. He never had a chance in court and because he cannot afford a private attorney he has no chance now of challenging the grotesque sentence handed to him as a child.

My stacks of 28 scenes written by the students each week, the paper bearing the musty, sour smell of the prison, rose into an ungainly pile. I laboriously shaped and edited the material. It grew, line by line, scene by scene, into a powerful and deeply moving dramatic vehicle. The voices and reality of those at the very bottom rung of our society -- some of the 2.2 million people in prisons and jails across the country, those we as a society are permitted to demonize and hate, just as African-Americans were once demonized and hated during slavery and Jim Crow -- began to flash across the pages like lightning strikes. There was more brilliance, literacy, passion, wisdom and integrity in that classroom than in any other classroom I have taught, and I have taught at some of the most elite universities in the country. The mass incarceration of men and women like my students impoverishes not just them, their families and their communities, but the rest of us as well. 

"The most valuable blacks are those in prison," August Wilson once said, "those who have the warrior spirit, who had a sense of being African. They got for their women and children what they needed when all other avenues were closed to them." He added: "The greatest spirit of resistance among blacks [is] found among those in prison."

I increased the class meetings by one night a week. I read the scenes to my wife, Eunice Wong, who is a professional actor, and friends such as the cartoonist Joe Sacco and the theologian James Cone. Something unique, almost magical, was happening in the prison classroom -- a place I could reach only after passing through two metal doors and a metal detector, subjecting myself to a pat-down by a guard, an X-ray inspection of my canvas bag of books and papers, getting my hand stamped and then checked under an ultraviolet light, and then passing through another metal door into a barred circular enclosure. In every visit I was made to stand in the enclosure for several minutes before being permitted by the guards to pass through a barred gate and then walk up blue metal stairs, through a gantlet of blue-uniformed prison guards, to my classroom. 

The class, through the creation of the play, became an intense place of reflection, debate and self-discovery. Offhand comments, such as the one made by a student who has spent 22 years behind bars, that "just because your family doesn't visit you doesn't mean they don't love you," reflected the pain, loneliness and abandonment embedded in the lives of my students. There were moments that left the class unable to speak.

A student with 19 years behind bars read his half of a phone dialogue between himself and his mother. He was the product of rape and tells his mother that he sacrificed himself to keep his half brother -- the only son his mother loves -- out of prison. He read this passage in the presentation of the play in the prison chapel last Thursday to visitors who included Cornel West and James Cone.

Terrance:  You don't understand[,] Ma.

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Terrance: You're right. Never mind.

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Terrance: What you want me to say Ma?

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Terrance: Ma, they were going to lock up Bruce. The chrome [the gun] was in the car. Everyone in the car would be charged with murder if no one copped to it ...

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