Locked in with loss
At prison last week we read a poem by Robert Hayden (1913-1980), the first black Consultant in Poetry to the Library of Congress (a position now called the U.S. Poet Laureate), titled "The Prisoners." A prisoner gave me this piece a few weeks ago, saying, "Eli, let's do this."
The Prisoners
Steel doors -- guillotine gates --
of the doorless house closed massively.
We were locked in with loss.
Guards frisked us, marked our wrists,
then let us into the drab Rec Hall --
splotched green walls, high windows barred --
where the dispossessed awaited us.
Hands intimate with knife and pistol,
hands that had cruelly grasped and throttled
clasped ours in welcome. I sensed the plea
of men denied: Believe us human
like yourselves, who but for Grace. . .
We shared reprieving Hidden Words
revealed by the Godlike imprisoned
One, whose crime was truth.
And I read poems I hoped were true.
It's like you been there, brother, been there,
the scarred young lifer said.
The men didn't understand the poem initially. What's going on? One said: "What's he mean, 'but for Grace'? He sayin' prisoners don't have grace?" I clarified the idiom and explained: even though this poem is called 'the prisoners,' it seems the subject of the poem is not you, but us: the volunteers. Every week, we pass through 'steel doors' and have our hands marked. We're not exactly 'frisked,' but we do pass through a metal detector. And after being escorted through the yard, we finally reach you, the so-called 'dispossessed,' people who once possessed things.
We debated the next two lines of the poem: "Hands intimate with knife and pistol, / hands that had cruelly grasped and throttled / clasped ours in welcome." I assumed those hands belonged prisoners, to people who had committed crimes. Most of the men, however, assumed (they felt it didn't need an argument, it was so obvious) that the hands belonged to the guards. We spoke about "the Godlike imprisoned One, whose crime was truth." Jesus, right? (Actually, it's Bahá'u'lláh.) But the question that drove the conversation was: Who are the prisoners in this poem? "It's ambiguous," said one of the volunteers. "What's ambiguous mean?" said one of the inmates.
I myself read the volunteers as the prisoners - not to appropriate or usurp their experience, but because volunteers do cede much of their sovereignty to the prison machine. We pass eleven patrolled steel gates - the modern guillotine - between the prison lobby and the school. We are, as the poet says, "locked in with loss." Whose loss? The prisoners, right? I do sense the plea of these men denied: the desire to be recognized as human, to be remembered. But it's also our loss. We are "guests of the facility," as we're constantly reminded, subject to their rules. No shorts, no skirts, no green, no suggestive language, no talking as we walk, no being yourself. That's not to say I understand the experience of being incarcerated. I don't. But it means something.
Hence the closing two lines - "It's like you been there, brother, been there / the scarred young life said." In that line, the poet's crisis (that is, is he in a way also imprisoned?) is resolved. Two years since I started on this journey, I am leaving the state. Tomorrow will be my last night. And I'd like imagine, perhaps fancifully, that the prisoner gave me this poem to indicate that after countless weeks of listening, teaching, and clasping hands, I finally have permission to say "we."














