45 pages • 1 hour read
Chapter 7 begins in lockdown, as a fight has broken out between rival gangs. Jimmy explains to Mark that the fight was actually a spillover from gang conflicts at one of the adult prisons. Racially-motivated, these fights are coordinated through gang affiliations, which stretch between prison to prison:
If a group of black guys jump a Latino guy up at Cocoran or Folsom, the Mexican Mafia will say that Latino guys got to pick fights with blacks for payback. And if they find out the juveniles didn't carry out the order, they'll be waiting for you when you get sent to the pen (72).
At Juvenile Hall, while working on an assignment to describe things that have been done for them, stories of the boys' troubled family lives enter into their assignments. Conversations about family lead to conversations about gang life, and its importance for those behind bars. Although aware of the prevalence of gang life in the area, Mark does not, until this point, properly understand the inmates' own mixed feelings toward gangs. Jimmy says: "You're supposed to put the gang first, but if you could listen to most of us when we're talking in our rooms, when it's just you and your roommate and not in front of everybody else, you'd find out that a lot of guys in here are sick of it" (76). This causes Mark to reflect upon a new purpose for this class: bringing his student-inmates to this realization, and creating a space where it can be voiced.
In Chapter 8, another HRO, Nathaniel Hall, joins the class. At this time, the lockdown has not yet been called off. Hall is eager to prove both his sophistication and his indifference to the program as a whole, describing his visit as a "close encounter of the criminal kind" (81). Francisco reads an essay of his own, in which he questions his faith in God; the boys are initially shocked, as few people are willing to admit something so personal. Because of the lockdown, the class is more restless, and little writing is done. Mark notes to himself:
[...] a group of sixteen- and seventeen-year-old boys, after being in their cells for a week with no radio, television, recreation, exercise, or school would have a hard time keeping quiet. On the other hand, I didn't want them to think of our Wednesday night class as simply an hour of recreation (84).
Eventually, by the end of the session, Nathaniel writes a gripping personal story. However, he does not stay long, being placed on punishment for an altercation with another inmate soon after.
In Chapter 9, another student, Patrick, shows an interest in drawing and illustration, but has little faith in his interest coming to fruition, being behind bars. At the chapter's close, the writing becomes more personal and reflective: a story from Kevin about his mother, and his own loneliness, and—to everyone's surprise—a story from Nathaniel Hall, who, despite being held in isolation, has completed his assignment. Hall's story is excellent, which discourages Patrick. Mark tells Patrick about his experience playing cello—how the famous cellist Yo-yo Ma discouraged him from continuing playing, citing it as a bad example of comparing oneself to others. The boys learn the lesson, and, with it, to combat their anxiety performance surrounding writing. In addition to this, Mark notices the boys have begun to channel these feelings into their writing, which becomes more reflective, and even philosophical, as Kevin's essay shows: "Darkness tries to smother my true being day by day. At times the light shines through all the darkness but that is seldom. Happiness is very scarce, too. It feels as if loneliness, hate, and anger comes as every minute passes" (97). The source of this negativity, however, is not abstract or unrecognized: "I thought this place was supposed to teach you something, but no, it just punishes people. Why should you change your life if all you hear all day is what a worthless piece of shit you are?" (99). Mark has no answers.
These chapters show the growing bond between Mark and his students. As the students begin to trust Mark more, they begin to be comfortable showing more interest in the class. Their writing and their conversation begins to reflect an implicit understanding: the class represents an escape from both the frustrations of prison life and gang life. The ability to write is not just an ability to express themselves, but also an ability to have identities outside of the needs of prison life. As the students explain, gang life has an overwhelming practical necessity, but also stems from the alienation prisoners feel when separated from their lives. In this way, Mark's class is an opportunity for the prisoners to form a different kind of community, and learn to relate to others in a different way. Nevertheless, the habitual aggression and suspicion remains among the class, even as it is gradually being replaced by mutual concern and support. The students' interest in the class has fostered an interest in one another. Mark recognizes that the students' attitude has changed, further upsetting his expectations.
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