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This singular history of a prison, and the queer women and trans people held there, is a window into the policing of queerness and radical politics in the twentieth century. The Women's House of Detention, a landmark that ushered in the modern era of women's imprisonment, is now largely forgotten. But when it stood in New York City's Greenwich Village, from 1929 to 1974, it was a nexus for the tens of thousands of women, transgender men, and gender-nonconforming people who inhabited its crowded cells. Some of these inmates--Angela Davis, Andrea Dworkin, Afeni Shakur--were famous, but the vast majority were incarcerated for the crimes of being poor and improperly feminine. Today, approximately 40 percent of the people in women's prisons identify as queer; in earlier decades, that percentage was almost certainly higher. Historian Hugh Ryan explores the roots of this crisis and reconstructs the little-known lives of incarcerated New Yorkers, making a uniquely queer case for prison abolition--and demonstrating that by queering the Village, the House of D helped defined queerness for the rest of America. From the lesbian communities forged through the Women's House of Detention to the turbulent prison riots that presaged Stonewall, this is the story of one building and much more: the people it caged, the neighborhood it changed, and the resistance it inspired.

A “profound, sometimes hilarious, often heartbreaking” (The New York Times) view of prison life, as told by currently and formerly incarcerated people, from the co-creators and co-hosts of the Peabody- and Pulitzer-nominated podcast Ear Hustle “A must-read for fans of the legendary podcast and all those who seek to understand crime, punishment, and mass incarceration in America.”—Piper Kerman, author of Orange Is the New Black When Nigel Poor and Earlonne Woods met, Nigel was a photography professor volunteering with the Prison University Project and Earlonne was serving thirty-one years to life at California’s San Quentin State Prison. Initially drawn to each other by their shared interest in storytelling, neither had podcast production experience when they decided to enter Radiotopia’s contest for new shows . . . and won. Using the prize for seed money, Nigel and Earlonne launched Ear Hustle, named after the prison term for “eavesdropping.” It was the first podcast created and produced entirely within prison and would go on to be heard millions of times worldwide, garner Peabody and Pulitzer award nominations, and help earn Earlonne his freedom when his sentence was commuted in 2018. In This Is Ear Hustle, Nigel and Earlonne share their own stories of how they came to San Quentin, how they created their phenomenally popular podcast amid extreme limitations, and what has kept them collaborating season after season. They present new stories, all with the same insight, balance, and rapport that distinguish the podcast. In an era when more than two million people are incarcerated across the United States—a number that grows by 600,000 annually—Nigel and Earlonne explore the full and often surprising realities of prison life. With characteristic candor and humor, their moving portrayals include unexpected moments of self-discovery, unlikely alliances, inspirational resilience, and ingenious work-arounds. One personal narrative at a time, framed by Nigel’s and Earlonne’s distinct perspectives, This Is Ear Hustle reveals the complexity of life for incarcerated and formerly incarcerated people while illuminating the shared experiences of humanity that unite us all.

“No country in history has ever handed over so many inmates to private corporations. This book looks at the consequences” (Eric Schlosser, bestselling author of Fast Food Nation). In Prison Profiteers, coeditors Tara Herivel and Paul Wright “follow the money to an astonishing constellation of prison administrators and politicians working in collusion with private parties to maximize profits” (Publishers Weekly). From investment banks, guard unions, and the makers of Taser stun guns to health care providers, telephone companies, and the US military (which relies heavily on prison labor), this network of perversely motivated interests has turned the imprisonment of 1 out of every 135 Americans into a lucrative business. Called “an essential read for anyone who wants to understand what’s gone wrong with criminal justice in the United States” by ACLU National Prison Project director Elizabeth Alexander, this incisive and deftly researched volume shows how billions of tax dollars designated for the public good end up lining the pockets of those private enterprises dedicated to keeping prisons packed. “An important analysis of a troubling social trend” that is sure to inform and outrage any concerned citizen, Prison Profiteers reframes the conversation by exposing those who stand to profit from the imprisonment of millions of Americans (Booklist). “Indispensable . . . An easy and accessible read—and a necessary one.” —The San Diego Union-Tribune “This is lucid, eye-opening reading for anyone interested in American justice.” —Publishers Weekly “Impressive . . . A thoughtful, comprehensive and accessible analysis of the money trail behind the prison-industrial-complex.” —The Black Commentator

Winner of the 2017 Diamond Anniversary Book Award and the African American Communication and Culture Division's 2017 Outstanding Book Award, both from the National Communication Association In the Black liberation movement, imprisonment emerged as a key rhetorical, theoretical, and media resource. Imprisoned activists developed tactics and ideology to counter white supremacy. Lisa M. Corrigan underscores how imprisonment—a site for both political and personal transformation—shaped movement leaders by influencing their political analysis and organizational strategies. Prison became the critical space for the transformation from civil rights to Black Power, especially as southern civil rights activists faced setbacks. Black Power activists produced autobiographical writings, essays, and letters about and from prison beginning with the early sit-in movement. Examining the iconic prison autobiographies of H. Rap Brown, Mumia Abu-Jamal, and Assata Shakur, Corrigan conducts rhetorical analyses of these extremely popular though understudied accounts of the Black Power movement. She introduces the notion of the “Black Power vernacular” as a term for the prison memoirists' rhetorical innovations, to explain how the movement adapted to an increasingly hostile environment in both the Johnson and Nixon administrations. Through prison writings, these activists deployed narrative features supporting certain tenets of Black Power, pride in Blackness, disavowal of nonviolence, identification with the Third World, and identity strategies focused on Black masculinity. Corrigan fills gaps between Black Power historiography and prison studies by scrutinizing the rhetorical forms and strategies of the Black Power ideology that arose from prison politics. These discourses demonstrate how Black Power activism shifted its tactics to regenerate, even after the FBI sought to disrupt, discredit, and destroy the movement.

A bold and provocative interpretation of one of the most religiously vibrant places in America—a state penitentiary Baraka, Al, Teddy, and Sayyid—four black men from South Philadelphia, two Christian and two Muslim—are serving life sentences at Pennsylvania's maximum-security Graterford Prison. All of them work in Graterford's chapel, a place that is at once a sanctuary for religious contemplation and an arena for disputing the workings of God and man. Day in, day out, everything is, in its twisted way, rather ordinary. And then one of them disappears. Down in the Chapel tells the story of one week at Graterford Prison. We learn how the men at Graterford pass their time, care for themselves, and commune with their makers. We observe a variety of Muslims, Protestants, Catholics, and others, at prayer and in study and song. And we listen in as an interloping scholar of religion tries to make sense of it all. When prisoners turn to God, they are often scorned as con artists who fake their piety, or pitied as wretches who cling to faith because faith is all they have left. Joshua Dubler goes beyond these stereotypes to show the religious life of a prison in all its complexity. One part prison procedural, one part philosophical investigation, Down in the Chapel explores the many uses prisoners make of their religions and weighs the circumstances that make these uses possible. Gritty and visceral, meditative and searching, it is an essential study of American religion in the age of mass incarceration.