This volume makes a case for engaging critical approaches for teaching adults in prison higher education (or “college-in-prison”) programs. This book not only contextualizes pedagogy within the specialized and growing niche of prison instruction, but also addresses prison abolition, reentry, and educational equity. Chapters are written by prison instructors, currently incarcerated students, and formerly incarcerated students, providing a variety of perspectives on the many roadblocks and ambitions of teaching and learning in carceral settings. All unapologetic advocates of increasing access to higher education for people in prison, contributors discuss the high stakes of teaching incarcerated individuals and address the dynamics, conditions, and challenges of doing such work. The type of instruction that contributors advocate is transferable beyond prisons to traditional campus settings. Hence, the lessons of this volume will not only support readers in becoming more thoughtful prison educators and program administrators, but also in becoming better teachers who can employ critical, democratic pedagogy in a range of contexts.

During her time as a prison teacher Mim Skinner met people from all walks of life - what united them, was that they had committed a serious crime. But Mim's job was not to judge them, it was to teach. In this compelling, inspirational memoir Mim takes you behind the bars. From drugs and violence to pregnancy and heartbreak, Mim's classroom saw it all. With high drama but also candid humour The Prison Teacher is full of eye-opening stories of those without a voice, revealing the human side of our country's most controversial institution.

Doing Time, Writing Lives offers a much-needed analysis of the teaching of college writing in U.S. prisons, a racialized space that - despite housing more than 2.2 million people -remains nearly invisible to the general public. Through the examination of a college-in-prison program that promotes the belief that higher education in prison can reduce recidivism and improve life prospects for the incarcerated and their families, author Patrick W. Berry exposes not only incarcerated students' hopes and dreams for their futures but also their anxieties about whether education will help them. Beginning by exploring the need to move beyond narratives of hope when discussing literacy initiatives within prisons, Berry then illustrates how teachers and students frequently hold on to different beliefs about literacy and its power in the world. After discussing the possibilities and limitations of professional writing courses in prisons, the author argues that we need to pay greater attention to teachers and their motivations in prison education initiatives. Finally, he offers a case study of one formerly imprisoned student who uses writing in his current life and how this does (and does not) connect with what he learned in his prison education program. Combining case studies and interviews with the author's own personal experiences teaching writing in prison, Doing Time, Writing Lives chronicles how incarcerated students attempt to write themselves back into a society that has erased their lived histories. It challenges polarizing rhetoric often used to describe what literacy can and cannot deliver, suggesting more nuanced and ethical ways of understanding literacy and possibility in an age of mass incarceration.

At the age of forty-five, Deborah Tobola returns to her birthplace, San Luis Obispo, to work in the very prison her father worked in when he was a student at Cal Poly. But she’s not wearing a uniform as he did; she’s there to teach creative writing and manage the prison’s arts program—a dream job. As she creates a theatre program for prisoners, Tobola finds plenty of drama off the stage as well. Inside the razor wire she finds a world frozen in the ’50s, with no contact with the outside except by telephone; officers who think prisoners don’t deserve programs; bureaucrats who want to cut arts funding; and inmates who steal, or worse. But she loves engaging prisoners in the arts and helping them discover their voices: men like Opie, the gentleman robber; Razor, the roughneck who subscribes to The New Yorker; charismatic Green Eyes, who really has blue eyes; Doo Wop, a singer known for the desserts he creates from prison fare. Alternating between tales of creating drama in prison and Tobola’s own story, Hummingbird in Underworld takes readers on an unforgettable literary journey—one that is frank, funny, and fascinating.

Incarcerated bodies, liberated minds: a narrative of literacy education behind bars. Words No Bars Can Hold provides a rare glimpse into literacy learning under the most dehumanizing conditions. Deborah Appleman chronicles her work teaching college- level classes at a high- security prison for men, most of whom are serving life sentences. Through narrative, poetry, memoir, and fiction, the students in Appleman’s classes attempt to write themselves back into a society that has erased their lived histories. The students’ work, through which they probe and develop their identities as readers and writers, illuminates the transformative power of literacy. Appleman argues for the importance of educating the incarcerated, and explores ways to interrupt the increasingly common journey from urban schools to our nation’s prisons. From the sobering endpoint of what scholars have called the “school to prison pipeline,” she draws insight from the narratives and experiences of those who have traveled it.

"The best book I've read this year" Rachael, Goodreads reviewer ⭐ ⭐ ⭐ ⭐ ⭐ "Fantastic" Rachel, Goodreads reviewer ⭐ ⭐ ⭐ ⭐ ⭐ "Funny, insightful, heart-breaking" NetGalley reviewer ⭐ ⭐ ⭐ ⭐ ⭐ "A magnificent book" Jo, Goodreads reviewer ⭐ ⭐ ⭐ ⭐ Step inside one of Britain's most renowned prisons... During her time as a prison teacher Mim Skinner met people from all walks of life - what united them, was that they had committed a serious crime. But Mim's job was not to judge them, it was to teach. In this compelling, inspirational memoir Mim takes you behind the bars. From drugs and violence to pregnancy and heartbreak, Mim's classroom saw it all. With high drama but also candid humour The Prison Teacher is full of eye-opening stories of those without a voice, revealing the human side of our country's most controversial institution. AS SEEN ON BBC BREAKFAST A STYLIST NON-FICTION BOOK OF YEAR 2020 'Shocking, poignant and darkly funny' Woman & Home 'Full of nitty-gritty details of life inside' The Guardian 'Humbling, hopeful and wryly hilarious' The Herald 'Very real and powerful account' Kate Paradine, CEO of Women in Prison 'A humane, sometimes humorous, and always perceptive account of prison life' Ken Loach 'Very funny and important' Pandora Sykes, co-host The High Low Show

In a time of increasing mass incarceration, US prisons and jails are becoming a major source of literary production. Prisoners write for themselves, fellow prisoners, family members, and teachers. However, too few write for college credit. In the dearth of well-organized higher education in US prisons, noncredit programs established by colleges and universities have served as a leading means of informal learning in these settings. Thousands of teachers have entered prisons, many teaching writing or relying on writing practices when teaching other subjects. Yet these teachers have few pedagogical resources. This groundbreaking collection of essays provides such a resource and establishes a framework upon which to develop prison writing programs. Prison Pedagogies does not champion any one prescriptive approach to writing education but instead recognizes a wide range of possibilities. Essay subjects include working-class consciousness and prison education; community and literature writing at different security levels in prisons; organized writing classes in jails and juvenile halls; cultural resistance through writing education; prison newspapers and writing archives as pedagogical resources; dialogical approaches to teaching prison writing classes; and more. The contributors within this volume share a belief that writing represents a form of intellectual and expressive self-development in prison, one whose pursuit has transformative potential.

Why are our educational institutions and practices such a poor fit for so many students? A Prison Called School addresses the complex issues that place many students at a disadvantage as they try to survive yet another hurdle in life—school. Although some students are able to navigate and succeed in the current system, other students struggle to survive a system that is unable to meet their needs. For those students, school can feel like a twelve-year prison sentence. Students who cannot fit the outdated, one-size-fits-all model, are further penalized by a system that blames the struggling student rather than holding the institution accountable. For students to thrive in school, the system, not the students, must change in deep and substantial ways. A Prison Called School is a powerful catalyst for creating the empowering, engaging, and effective learning environments that all students need to succeed in school and life.

"Arguing that the school-to-prison pipeline is "one of the most urgent educational issues of our time," this volume seeks to (1) examine how and why increasing numbers of students, disproportionately youth of color, are being taken from our schools into our prisons and (2) consider what school-based educators can do to disrupt this flow and dismantle the school to prison pipeline, using examples drawn from both schools and prisons. Incorporating perspectives from both 'ends' of the pipeline, the volume provides specific strategies on curriculum, pedagogy, and disciplinary practices that can help redirect our collective efforts from carceral practices to education that will be valuable for all educators in keeping students in school and out of prison"--

ALL DAY is a behind-the-bars, personal glimpse into the issue of mass incarceration via an unpredictable, insightful and ultimately hopeful reflection on teaching teens while they await sentencing. Told with equal parts raw honesty and unbridled compassion, ALL DAY recounts a year in Liza Jessie Peterson's classroom at Island Academy, the high school for inmates detained at New York City's Rikers Island. A poet and actress who had done occasional workshops at the correctional facility, Peterson was ill-prepared for a full-time stint teaching in the GED program for the incarcerated youths. For the first time faced with full days teaching the rambunctious, hyper, and fragile adolescent inmates, "Ms. P" comes to understand the essence of her predominantly Black and Latino students as she attempts not only to educate them, but to instill them with a sense of self-worth long stripped from their lives. "I have quite a spirited group of drama kings, court jesters, flyboy gangsters, tricksters, and wannabe pimps all in my charge, all up in my face, to educate," Peterson discovers. "Corralling this motley crew of bad-news bears to do any lesson is like running boot camp for hyperactive gremlins. I have to be consistent, alert, firm, witty, fearless, and demanding, and most important, I have to have strong command of the subject I'm teaching." Discipline is always a challenge, with the students spouting street-infused backtalk and often bouncing off the walls with pent-up testosterone. Peterson learns quickly that she must keep the upper hand-set the rules and enforce them with rigor, even when her sympathetic heart starts to waver. Despite their relentless bravura and antics-and in part because of it-Peterson becomes a fierce advocate for her students. She works to instill the young men, mostly black, with a sense of pride about their history and culture: from their African roots to Langston Hughes and Malcolm X. She encourages them to explore and express their true feelings by writing their own poems and essays. When the boys push her buttons (on an almost daily basis) she pushes back, demanding that they meet not only her expectations or the standards of the curriculum, but set expectations for themselves-something most of them have never before been asked to do. She witnesses some amazing successes as some of the boys come into their own under her tutelage. Peterson vividly captures the prison milieu and the exuberance of the kids who have been handed a raw deal by society and have become lost within the system. Her time in the classroom teaches her something, too-that these boys want to be rescued. They want normalcy and love and opportunity.