Re: Live From Death Row, by Mumia Abu-Jamal
Posted: Wed Jun 11, 2014 4:47 am
Introduction
John Edgar Wideman
Recalling the horrors of African-American history, accepting the challenges our history presently places on us, is like acknowledging a difficult, unpleasant duty or debt that's been hanging over our heads a very long time, an obligation that we know in our hearts we must deal with but that we keep putting off and evading, as if one day procrastination will make the burden, the obligation we must undertake, disappear.
Mumia Abu-Jamal forces us to confront the burden of our history. In one of his columns from death row he quotes at length an 1857 ruling of the U.S. Supreme Court. The issue being determined by the Court is whether the descendants of slaves, when they shall be emancipated, are full citizens of the United States. Chief Justice Roger Taney states:
Mumia points out that Thurgood Marshall, the first person of African descent appointed to the U.S. Supreme Court, admitted, just hours after his resignation from the Court, that "I'm still not free." [2]
In another essay, Mumia calls our attention to Nelson Mandela. Released after twenty-seven years in South Africa's jails as a political prisoner, Mandela -- honored, celebrated as a hero, leader, and liberator of his people, universally acknowledged to be the most powerful man in his country, its best hope for peace, possibly its next president -- still didn't possess the right to vote.
Mumia Abu-Jamal's writing insists on these kinds of gut checks, reality checks. He reminds us that to move clearly in the present, we must understand the burden of our past.
***
Situated as he is in prison, a prison inside a prison actually, since he's confined on death row, Mumia Abu-Jamal's day-to-day life would seem to share little with ours, out here in the so-called free world. Then again, if we think a little deeper, we might ask ourselves -- who isn't on death row? Perhaps one measure of humanity is our persistence in the business of attempting to construct a meaningful life in spite of the sentence of death hanging over our heads every instant of our time on earth.
Although we can't avoid our inevitable mortality, we don't need to cower in a corner, waiting for annihilation. Neither should we allow the seemingly overwhelming evil news of the day to freeze us in our tracks, nor let it become an excuse for doing nothing, for denial and avoidance, for hiding behind imaginary walls and pretending nothing can harm us.
Alternatives exist. Struggle exists. Struggle to connect, to imagine ourselves better. To imagine a better world. To take responsibility step by step, day by day, for changing the little things we can control, refusing to accept the large things that appear out of control. The life and the essays of Mumia Abu-Jamal provide us with models for struggle.
***
In 1981, to connect with my younger brother who was serving a life term without parole in a Pennsylvania prison, I wrote a book with him called Brothers and Keepers. In my research for the book I discovered a chilling fact. My country, the United States of America, ranked third among the nations of the world in the percentage of its citizens it imprisoned. Only Russia and South Africa surpassed us.
Who would have guessed that, thirteen years later, the powerful governments of two of the top three incarcerating nations would have been overturned by internal revolutions. We're number one now. And in spite of the warning implicit in the fate of governments that choose repression over reform, we're building more prisons as fast as we can.
The facile notion of incarceration as a cure for social, economic, and political problems has usurped the current national discussion of these issues. As I traveled from city to city on a book tour last fall, the dominant issue dramatized in TV campaign ads coast to coast was: Which candidate is tougher on crime.
During the same tour, a hot story in national and local newspapers, on TV news, talk shows, and radio call-ins was the IQ controversy occasioned by the publication of several books claiming that the innate intelligence of blacks was lower than that of whites. Why such widespread, excited coverage of this hoary topic?
That some people believe black folk are born inferior to whites, and thus genetically determined to occupy the lowest rung of society certainly isn't news. Neither is blaming the victim of oppression, a strategy with a history at least as ancient as Europe's slave trading in Africa. I recall sitting on college admissions committees thirty years ago and hearing many of those who are voicing the idea of black mental inferiority today singing the same song then to rationalize underrepresentation of African-Americans in higher education.
So the fact that some experts continue to believe in innate black inferiority (or proclaim it without truly believing, since they must know that the basic terms in the debate -- race and intelligence -- are problematic at best, malicious fictions at worst, and know a mountain of tables, graphs, statistics, and experiments can neither affirm nor deny premises and assumptions themselves imprecise and untestable, how many angels can fit on the head of a pin) is not news. Rather, the IQ controversy is an ominous sign of misinformation and repression going hand in hand. Exterminating Jews becomes easier if you're able to provide sound "scientific" reasons for pogroms.
Postulating a biologically determined IQ deficit in blacks is more than malicious mischief. It is a transparent ploy to justify (and erase from the national consciousness) thirty years of backsliding from the promise of equality exacted by the civil rights movement of the 1960s.
For African-Americans the backsliding has created a slightly larger black middle class on one hand, and on the other a growing underclass of people of color trapped on the bottom rung of an economic ladder without any more rungs. For white Americans, reneging on the promise of equality has engendered class stratification and polarization just as severe as among blacks. On the bottom, the stagnant poverty of unemployment, welfare, poor education, and transience infect more and more of those who once considered themselves working people with dignity and aspirations. In the middle a rapidly shrinking majority beset by fear, trembling, and anger. They know they are walking a tightrope -- away from unforgiving poverty, toward a mirage of boundless wealth that confers immunity from hard times. A tightrope, they also know in their hearts, leads nowhere -- unless they hit the lottery -- except to more stressful, precarious steps along the razor's edge or a sudden, precipitous fall. Finally, at the top stands a tiny minority whose wealth is a wall protecting them from the chaos of social instability, a wall that is both a reaction to the moral chaos of inequality and dependent on it.
We face a social landscape with more (or at least as much) need for radical change than we faced in the 1960s, an era that produced, flawed though it was by lack of follow-through, a mighty impulse toward change. Yet today the opposite impulse drives us. Walls separating Americans by race, gender, class, and region are being justified and celebrated, but not in a spirit that welcomes diversity or seeks ultimate unity through mutual respect and reconciliation. Prison walls are being proposed as a final solution. They symbolize our shortsightedness, our fear of the real problems caging us all. The pity is how blindly, enthusiastically, we applaud those who are constructing the walls dooming us.
***
Mumia Abu-Jamal's voice is considered dangerous and subversive and thus is censored from National Public Radio, to name just one influential medium. Many books about black people, including a slew of briskly selling biographies and autobiographies -- from Oprah to O.J. to Maya Angelou -- are on the stands. What sets Mumia's story apart as so threatening?
It is useful to remember that the slave narrative and its progeny, the countless up-from-the-depths biographies and autobiographies of black people that repeat the form and assumptions of the slave narrative, have always been best-sellers. They encapsulate one of the master plots Americans have found acceptable for black lives. These neoslave narratives carry a message the majority of people wealthy enough to purchase books wish to hear.
The message consists of a basic deep structure repeated in a seemingly endless variety of packages and voices. The slave narratives of the 1800s posited and then worked themselves out in a bifurcated, either/or world. The action of the story concerns moving from one world to another. The actor is a single individual, a featured star, and we watch and listen as this protagonist undergoes his or her rite of passage. South to north, rural to urban, black environment (plantation) to white environment (everywhere, including the language in which the narrator converses with the reader), silence to literacy, are some of the classic crossovers accomplished by the protagonists of such fables. If you punch in modern variants of these dichotomies -- ghetto to middle class, ignorance to education, unskilled to professional, despised gangster to enlightened spokesperson, you can see how persistent and malleable the formula is.
The formula for the neoslave narrative sells because it is simple; because it accepts and maintains the categories (black/white, for instance) of the status quo; because it is about individuals, not groups, crossing boundaries; because it comforts and consoles those in power and offers a ray of hope to the powerless. Although the existing social arrangements may allow the horrors of plantations, ghettos, and prisons to exist, the narratives tell us, these arrangements also allow room for some to escape. Thus the arrangements are not absolutely evil. No one is absolutely guilty, nor are the oppressed (slave, prisoner, ghetto inhabitant) absolutely guiltless. If some overcome, why don't the others?
Vicarious identification with the narrator's harrowing adventures, particularly if the tale is told in first person "I," permits readers to have their cake and eat it too. They experience the chill and thrill of being an outsider. In the safety of an armchair, readers can root for the crafty slave as the slave pits himself against an outrageously evil system that legitimizes human bondage. Readers can ignore for a charmed moment their reliance on the same system to pay for the book, the armchair.
The neoslave narratives thus serve the ambivalent function of their ancestors. The fate of one black individual is foregrounded, removed from the network of systemic relationships connecting, defining, determining, undermining all American lives. This manner of viewing black lives at best ignores, at worst reinforces, an apartheid status quo. Divisive categories that structure the world of the narratives -- slave/free, black white, underclass/middle class, female/male -- are not interrogated. The idea of a collective, intertwined fate recedes. The mechanisms of class, race, and gender we have inherited are perpetuated ironically by a genre purporting to illustrate the possibility of breaking barriers and transcending the conditions into which one is born.
Mumia Abu-Jamal's essays question matters left untouched by most of the popular stories of black lives decorating bookstores today. And therein lies much of the power, the urgency, of his writing.
His essays are important as departure and corrective. He examines the place where he is -- prison, his status -- prisoner, black man, but refuses to accept the notion of difference and separation these labels project. Although he yearns for freedom, demands freedom, he does not identify freedom with release from prison, does not confuse freedom with what his jailers can give or take away, does not restrict the concept of freedom to the world beyond the bars his jailers enter from each day. Although dedicated to personal liberation, he envisions that liberation as partially dependent on the collective fate of black people. He doesn't split his world down the middle to conform to the divided world prison enforces. He expresses the necessity of connection, relinquishing to no person or group the power to define him. His destiny, his manhood, is not attached to some desperate, one-way urge to cross over to a region controlled or possessed by others. What he is, who he can become, results from his daily struggle to construct an identity wherever his circumstances place him.
Isn't one of the lessons of African-American culture the reality of an unseen world, below, above, around, what is visible? Our history offers witness to the fact that our living, our art, and our spirits can prosper in the face of the most extreme physical deprivation. Aren't Mumia Abu-Jamal's words reaching us now, in spite of steel bars and a death sentence, another instance of our capacity to keep on keeping on?
The first truth Mumia tells us is that he ain't dead yet. And although his voice is vital and strong, he assures us it ain't because nobody ain't trying to kill him and shut him up. In fact, just the opposite is true. The power of his voice is rooted in his defiance of those determined to silence him. Magically, Mumia's words are clarified and purified by the toxic strata of resistance through which they must penetrate to reach us. Like the blues. Like jazz.
Remember the fairy tale about the emperor's new clothes, how a kid blurts out "He's naked" as the emperor struts past, decked out in his illusory splendor? What ever happened to the kid who spoiled the emperor's show? Consider what has happened to black men -- Martin, Malcolm, Mandela -- who have shouted out "He's naked." If the fairy tale were set in an American city today and the child cast as a black boy, we know he'd be shot or locked up or both. Nobody wants to hear the bad news, the truth exposing the empire's self-delusions, especially those who profit most from the delusions.
Chinua Achebe, the great Nigerian novelist, teaches us that the poet and the king must never become too friendly because the poet's job is to bear to the people unglad tidings the king would just as soon nobody hears.
The best slave narratives and prison narratives have always asked profound questions, implicitly and explicitly, about the meaning of a life. Part of the work of blues, jazz, our best artistic endeavors, is (thank you, Mr. Ellison) to reveal the chaos which lives within the pattern of our certainties. In a new world where African people were transported to labor, die, and disappear, we've needed unbound voices to reformulate our destiny -- voices refusing to be ensnared by somebody else's terms. We've developed the knack of finding such voices in the oddest, darkest, most unforeseen places. A chorus of them exists in Great Time, the seamless medium uniting past, present, and future. The voices are always there, if we discipline ourselves to pick them out. Listen to them, to ourselves, to the best we've managed to write and say and dance and paint and sing. African-American culture, in spite of the weight, the assaults it has endured, may contain a key to our nation's survival, a key not found simply in the goal of material prosperity, but in the force of spirit, will, communal interdependence.
Because he tells the truth, Mumia Abu-Jamal's voice can help us tear down walls -- prison walls, the walls we hide behind to deny and refuse the burden of our history.
_______________
Notes:
1. Dred Scott v. Sanford 19 U.S. (19 How.) 393, 15 L. Ed. 691 (1856).
2. Justice Marshall's June 28, 1991, press conference on his retirement from the U.S. Supreme Court, Federal News Service transcript.
John Edgar Wideman
Recalling the horrors of African-American history, accepting the challenges our history presently places on us, is like acknowledging a difficult, unpleasant duty or debt that's been hanging over our heads a very long time, an obligation that we know in our hearts we must deal with but that we keep putting off and evading, as if one day procrastination will make the burden, the obligation we must undertake, disappear.
Mumia Abu-Jamal forces us to confront the burden of our history. In one of his columns from death row he quotes at length an 1857 ruling of the U.S. Supreme Court. The issue being determined by the Court is whether the descendants of slaves, when they shall be emancipated, are full citizens of the United States. Chief Justice Roger Taney states:
Justice Taney, speaking for the Court, confirms the judgment of his ancestors and articulates an attitude prevailing to this very day.We think they are not, and that they were not included, and were not intended to be included, under the word "citizens" in the Constitution, and can therefore claim none of the rights and privileges of the United States....
[A] perpetual and impossible barrier was intended to be erected between the white race and the one which they had reduced to slavery, and governed as subjects with absolute and despotic power, and which they then looked upon as so far below them in the scale of created beings, that intermarriages between white persons and negroes or mulattoes were regarded as unnatural and immoral, and punished as crimes. [1]
Mumia points out that Thurgood Marshall, the first person of African descent appointed to the U.S. Supreme Court, admitted, just hours after his resignation from the Court, that "I'm still not free." [2]
In another essay, Mumia calls our attention to Nelson Mandela. Released after twenty-seven years in South Africa's jails as a political prisoner, Mandela -- honored, celebrated as a hero, leader, and liberator of his people, universally acknowledged to be the most powerful man in his country, its best hope for peace, possibly its next president -- still didn't possess the right to vote.
Mumia Abu-Jamal's writing insists on these kinds of gut checks, reality checks. He reminds us that to move clearly in the present, we must understand the burden of our past.
***
Situated as he is in prison, a prison inside a prison actually, since he's confined on death row, Mumia Abu-Jamal's day-to-day life would seem to share little with ours, out here in the so-called free world. Then again, if we think a little deeper, we might ask ourselves -- who isn't on death row? Perhaps one measure of humanity is our persistence in the business of attempting to construct a meaningful life in spite of the sentence of death hanging over our heads every instant of our time on earth.
Although we can't avoid our inevitable mortality, we don't need to cower in a corner, waiting for annihilation. Neither should we allow the seemingly overwhelming evil news of the day to freeze us in our tracks, nor let it become an excuse for doing nothing, for denial and avoidance, for hiding behind imaginary walls and pretending nothing can harm us.
Alternatives exist. Struggle exists. Struggle to connect, to imagine ourselves better. To imagine a better world. To take responsibility step by step, day by day, for changing the little things we can control, refusing to accept the large things that appear out of control. The life and the essays of Mumia Abu-Jamal provide us with models for struggle.
***
In 1981, to connect with my younger brother who was serving a life term without parole in a Pennsylvania prison, I wrote a book with him called Brothers and Keepers. In my research for the book I discovered a chilling fact. My country, the United States of America, ranked third among the nations of the world in the percentage of its citizens it imprisoned. Only Russia and South Africa surpassed us.
Who would have guessed that, thirteen years later, the powerful governments of two of the top three incarcerating nations would have been overturned by internal revolutions. We're number one now. And in spite of the warning implicit in the fate of governments that choose repression over reform, we're building more prisons as fast as we can.
The facile notion of incarceration as a cure for social, economic, and political problems has usurped the current national discussion of these issues. As I traveled from city to city on a book tour last fall, the dominant issue dramatized in TV campaign ads coast to coast was: Which candidate is tougher on crime.
During the same tour, a hot story in national and local newspapers, on TV news, talk shows, and radio call-ins was the IQ controversy occasioned by the publication of several books claiming that the innate intelligence of blacks was lower than that of whites. Why such widespread, excited coverage of this hoary topic?
That some people believe black folk are born inferior to whites, and thus genetically determined to occupy the lowest rung of society certainly isn't news. Neither is blaming the victim of oppression, a strategy with a history at least as ancient as Europe's slave trading in Africa. I recall sitting on college admissions committees thirty years ago and hearing many of those who are voicing the idea of black mental inferiority today singing the same song then to rationalize underrepresentation of African-Americans in higher education.
So the fact that some experts continue to believe in innate black inferiority (or proclaim it without truly believing, since they must know that the basic terms in the debate -- race and intelligence -- are problematic at best, malicious fictions at worst, and know a mountain of tables, graphs, statistics, and experiments can neither affirm nor deny premises and assumptions themselves imprecise and untestable, how many angels can fit on the head of a pin) is not news. Rather, the IQ controversy is an ominous sign of misinformation and repression going hand in hand. Exterminating Jews becomes easier if you're able to provide sound "scientific" reasons for pogroms.
Postulating a biologically determined IQ deficit in blacks is more than malicious mischief. It is a transparent ploy to justify (and erase from the national consciousness) thirty years of backsliding from the promise of equality exacted by the civil rights movement of the 1960s.
For African-Americans the backsliding has created a slightly larger black middle class on one hand, and on the other a growing underclass of people of color trapped on the bottom rung of an economic ladder without any more rungs. For white Americans, reneging on the promise of equality has engendered class stratification and polarization just as severe as among blacks. On the bottom, the stagnant poverty of unemployment, welfare, poor education, and transience infect more and more of those who once considered themselves working people with dignity and aspirations. In the middle a rapidly shrinking majority beset by fear, trembling, and anger. They know they are walking a tightrope -- away from unforgiving poverty, toward a mirage of boundless wealth that confers immunity from hard times. A tightrope, they also know in their hearts, leads nowhere -- unless they hit the lottery -- except to more stressful, precarious steps along the razor's edge or a sudden, precipitous fall. Finally, at the top stands a tiny minority whose wealth is a wall protecting them from the chaos of social instability, a wall that is both a reaction to the moral chaos of inequality and dependent on it.
We face a social landscape with more (or at least as much) need for radical change than we faced in the 1960s, an era that produced, flawed though it was by lack of follow-through, a mighty impulse toward change. Yet today the opposite impulse drives us. Walls separating Americans by race, gender, class, and region are being justified and celebrated, but not in a spirit that welcomes diversity or seeks ultimate unity through mutual respect and reconciliation. Prison walls are being proposed as a final solution. They symbolize our shortsightedness, our fear of the real problems caging us all. The pity is how blindly, enthusiastically, we applaud those who are constructing the walls dooming us.
***
Mumia Abu-Jamal's voice is considered dangerous and subversive and thus is censored from National Public Radio, to name just one influential medium. Many books about black people, including a slew of briskly selling biographies and autobiographies -- from Oprah to O.J. to Maya Angelou -- are on the stands. What sets Mumia's story apart as so threatening?
It is useful to remember that the slave narrative and its progeny, the countless up-from-the-depths biographies and autobiographies of black people that repeat the form and assumptions of the slave narrative, have always been best-sellers. They encapsulate one of the master plots Americans have found acceptable for black lives. These neoslave narratives carry a message the majority of people wealthy enough to purchase books wish to hear.
The message consists of a basic deep structure repeated in a seemingly endless variety of packages and voices. The slave narratives of the 1800s posited and then worked themselves out in a bifurcated, either/or world. The action of the story concerns moving from one world to another. The actor is a single individual, a featured star, and we watch and listen as this protagonist undergoes his or her rite of passage. South to north, rural to urban, black environment (plantation) to white environment (everywhere, including the language in which the narrator converses with the reader), silence to literacy, are some of the classic crossovers accomplished by the protagonists of such fables. If you punch in modern variants of these dichotomies -- ghetto to middle class, ignorance to education, unskilled to professional, despised gangster to enlightened spokesperson, you can see how persistent and malleable the formula is.
The formula for the neoslave narrative sells because it is simple; because it accepts and maintains the categories (black/white, for instance) of the status quo; because it is about individuals, not groups, crossing boundaries; because it comforts and consoles those in power and offers a ray of hope to the powerless. Although the existing social arrangements may allow the horrors of plantations, ghettos, and prisons to exist, the narratives tell us, these arrangements also allow room for some to escape. Thus the arrangements are not absolutely evil. No one is absolutely guilty, nor are the oppressed (slave, prisoner, ghetto inhabitant) absolutely guiltless. If some overcome, why don't the others?
Vicarious identification with the narrator's harrowing adventures, particularly if the tale is told in first person "I," permits readers to have their cake and eat it too. They experience the chill and thrill of being an outsider. In the safety of an armchair, readers can root for the crafty slave as the slave pits himself against an outrageously evil system that legitimizes human bondage. Readers can ignore for a charmed moment their reliance on the same system to pay for the book, the armchair.
The neoslave narratives thus serve the ambivalent function of their ancestors. The fate of one black individual is foregrounded, removed from the network of systemic relationships connecting, defining, determining, undermining all American lives. This manner of viewing black lives at best ignores, at worst reinforces, an apartheid status quo. Divisive categories that structure the world of the narratives -- slave/free, black white, underclass/middle class, female/male -- are not interrogated. The idea of a collective, intertwined fate recedes. The mechanisms of class, race, and gender we have inherited are perpetuated ironically by a genre purporting to illustrate the possibility of breaking barriers and transcending the conditions into which one is born.
Mumia Abu-Jamal's essays question matters left untouched by most of the popular stories of black lives decorating bookstores today. And therein lies much of the power, the urgency, of his writing.
His essays are important as departure and corrective. He examines the place where he is -- prison, his status -- prisoner, black man, but refuses to accept the notion of difference and separation these labels project. Although he yearns for freedom, demands freedom, he does not identify freedom with release from prison, does not confuse freedom with what his jailers can give or take away, does not restrict the concept of freedom to the world beyond the bars his jailers enter from each day. Although dedicated to personal liberation, he envisions that liberation as partially dependent on the collective fate of black people. He doesn't split his world down the middle to conform to the divided world prison enforces. He expresses the necessity of connection, relinquishing to no person or group the power to define him. His destiny, his manhood, is not attached to some desperate, one-way urge to cross over to a region controlled or possessed by others. What he is, who he can become, results from his daily struggle to construct an identity wherever his circumstances place him.
Isn't one of the lessons of African-American culture the reality of an unseen world, below, above, around, what is visible? Our history offers witness to the fact that our living, our art, and our spirits can prosper in the face of the most extreme physical deprivation. Aren't Mumia Abu-Jamal's words reaching us now, in spite of steel bars and a death sentence, another instance of our capacity to keep on keeping on?
The first truth Mumia tells us is that he ain't dead yet. And although his voice is vital and strong, he assures us it ain't because nobody ain't trying to kill him and shut him up. In fact, just the opposite is true. The power of his voice is rooted in his defiance of those determined to silence him. Magically, Mumia's words are clarified and purified by the toxic strata of resistance through which they must penetrate to reach us. Like the blues. Like jazz.
Remember the fairy tale about the emperor's new clothes, how a kid blurts out "He's naked" as the emperor struts past, decked out in his illusory splendor? What ever happened to the kid who spoiled the emperor's show? Consider what has happened to black men -- Martin, Malcolm, Mandela -- who have shouted out "He's naked." If the fairy tale were set in an American city today and the child cast as a black boy, we know he'd be shot or locked up or both. Nobody wants to hear the bad news, the truth exposing the empire's self-delusions, especially those who profit most from the delusions.
Chinua Achebe, the great Nigerian novelist, teaches us that the poet and the king must never become too friendly because the poet's job is to bear to the people unglad tidings the king would just as soon nobody hears.
The best slave narratives and prison narratives have always asked profound questions, implicitly and explicitly, about the meaning of a life. Part of the work of blues, jazz, our best artistic endeavors, is (thank you, Mr. Ellison) to reveal the chaos which lives within the pattern of our certainties. In a new world where African people were transported to labor, die, and disappear, we've needed unbound voices to reformulate our destiny -- voices refusing to be ensnared by somebody else's terms. We've developed the knack of finding such voices in the oddest, darkest, most unforeseen places. A chorus of them exists in Great Time, the seamless medium uniting past, present, and future. The voices are always there, if we discipline ourselves to pick them out. Listen to them, to ourselves, to the best we've managed to write and say and dance and paint and sing. African-American culture, in spite of the weight, the assaults it has endured, may contain a key to our nation's survival, a key not found simply in the goal of material prosperity, but in the force of spirit, will, communal interdependence.
Because he tells the truth, Mumia Abu-Jamal's voice can help us tear down walls -- prison walls, the walls we hide behind to deny and refuse the burden of our history.
_______________
Notes:
1. Dred Scott v. Sanford 19 U.S. (19 How.) 393, 15 L. Ed. 691 (1856).
2. Justice Marshall's June 28, 1991, press conference on his retirement from the U.S. Supreme Court, Federal News Service transcript.
