By Lee Bernstein
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 artwork. those integrated every thing from George Jackson's progressive Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood movie Short Eyes. a rare diversity of legal programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to persuade the Black Arts move, the Nuyorican writers, "New Journalism," and political theater, one of the most crucial aesthetic contributions of the last decade.
By 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, aiding many american citizens to reconsider the that means of the partitions themselves and, finally, the which means of the society that produced them.
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America Is the Prison: Arts and Politics in Prison in the 1970s by Lee Bernstein