Through the prison walls: using published poetry to explore current UK prisoners’ narratives of past, present and future selves

Abstract

Paradoxical subjectivities: Hardened and reflective selves in the prison environment The hierarchical power relations which infuse all elements of the prison environment throw up considerable challenges for conducting qualitative research. Classic studies of incarceration, including Goffman (1961) and Foucault (1977) have highlighted the operation of power, status and stigma in secure settings. In Goffman's (1961) influential account of the 'total institution', he argued that stigmatised status is fostered through formal degradation ceremonies such as court proceedings, with inmates stereotyped as 'generically criminal'. Once confined, it is argued that prisoner's encounters become structured by forms of systemic power which positions them, via sentence plans or psychologist reports, as uncomfortably visible, examinable and correctable (Foucault, 1977). The acute and intimate level of surveillance and control enforced within the prison environment has also been argued to create a barrier to authenticity and emotional expression (Crewe et al, 2013). This in turn effects relationships between inmates and staff, as well as the perceived security of the environment from both sides, creating a climate which Hobbes (1999) termed as 'diffidence' or one of generalised mistrust and wariness. These elements of the prison environment have significant implications for research. Lack of trust, and a familiarity with reproducing 'enforced' narratives can impact on establishing rapport with participants (Bosworth, Campbell, Ferranti & Santos, 2005), as well as potentially interfering with any attempts to rebalance power in the research process (see Reavey, 2011). In such a context it could be expected that individuals participating in qualitative research would be willing to only disclose certain aspects of their story. This paper will explore the possibilities of using already existent arts practice, specifically poetry, within the hierarchical environment of prison. We will explore some potential contributions of

Incarcerated people’s challenges for digital inclusion in Finnish prisons

“…Goffman's studies are based on a situation more than 50 years old, however, the analysis still provides a starting point for examining certain features of the dynamics of prison culture (e.g. DeValiant et al, 2020;Mesko & Hacin, 2018).…”

Where Is This Story Going? A Critical Analysis of the Emerging Field of Narrative Criminology

“…Mentors and mutual aid groups can provide "narrative maps" (Flores, 2016) and "memorable messages" (Stone 2019) that become instrumental in the development of one's own internal narrative (Harding et al, 2017;Weaver & McNeill, 2015). Some forms of this narrative co-production --including creative engagement with writing and other art forms inside prisons or treatment programs -simply encourage individuals to explore the stories they live by without imposing limits on new expressions of the self (see Albertson, 2015;Colvin, 2015;DeValiant, McGrath, & Kougiali, 2020). In other circumstances, the co-production process can be more coercive, including the pressures placed upon individuals to adopt "self-blame" narratives (Denver & Ewald, 2018) in therapeutic, court or parole settings (see Fox, 1999;Harding et al, 2017).…”

Familiarity and strangeness: Seeing everyday practices of punishment and resistance in Holloway Prison

“…Making space for self in prison also operates as a survival mechanism, exemplified by prison graffiti (Wilson, 2008) and poetry (DeValiant et al., 2018). Both material forms of self-expression that shape and express relationships, emotions and, as we explore, establish voice, visibility and resistance in oppressive institutions.…”

“…The characteristics of men and women’s carceral journeys, with men more likely to be moved to other facilities, may mean graffiti carries different functions to meet differing needs. Analysing prisoners’ poetry, DeValiant et al. (2018) note repeated references to mirrors and suggest this indicates the exploration of the self, making the self and relationship to others visible.…”

“…Official materials establish and enforce roles, responsibilities and behaviours, positioning the prison as an industry with consumers and providers (Bosworth, 2007). Everyday practices that establish relationships and affirm identities, such as collecting (Baer, 2005), graffiti (Wilson, 2008) and poetry (DeValiant et al., 2018) can operate as tactics that trouble this managerial discourse. Whilst carceral spaces are undoubtedly sites of power where the prison regime dictates the possibilities for how women live, tactics of survival and resistance challenge power and authority, reasserting autonomy and agency.…”