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