Months passed. I taught an undergraduate fiction workshop, and then I faced the problem of how to make a living. I wanted a little time to write privately, for myself, that was all I asked. Not to matter to the culture, but simply to be allowed the occasional visit to that solitary point of connection to the world of print. The way I finally chose to make a living (doing magazine journalism) felt painfully restrictive. But one small step into the world—a step that I’d been terrified of making—was all it took to be reminded of how unalone I was.
Then it was as if I began to remember. I remembered that as a boy I had spent long Saturday hours extracting rusty nails from the piles of paneling my father had torn out in the basement. I remembered hammering them straight on the piece of scrap iron my father had scavenged for an anvil, and then watching my father reuse these nails as he built himself a workshop and repaneled the basement. I remembered my adolescent adoration of my older brother Tom, who for a while in the seventies was an avant-garde filmmaker in Chicago, and who rehabbed an apartment in Pilsen with tools and materials largely scrounged from the now-defunct Maxwell Street market. Tom had two old Karmann Ghias, a bad yellow one handed down from our other brother, Bob, who’d finished med school and bought an Alfa Romeo, and an even worse pale blue one that had cost Tom $150. He alternately cannibalized each to feed the other; it was very time-consuming. I was riding with him the day the yellow one threw a rod and died and also the day the hood of the blue one blew open on the Dan Ryan Expressway and blocked the windshield and we nearly crashed. Do I sound nostalgic? I am not. I don’t hunger to return to those days, because I clearly remember wishing to be nowhere in the world but standing next to Tom on the muffler-and tailpipe-strewn shoulder as, with fingers stiff from the Chicago winter, he wired the Ghia’s hood back into place. I knew I was happy then, and so I can look back on those years and not miss them. I was present when they happened, and that’s enough.
When I began to write seriously in college, I used a hulking black Remington that rose nearly a foot off my desk, weighed as much as a small air-conditioner, and took all my carpal strength to operate. Later, I wrote my first novel and half of my second on two portable Silver-Reed typewriters (fifty dollars in 1980, still only sixty-nine dollars in 1985). When they broke, I fixed them. A triumph, in a week when various journals returned five short stories with rejection letters, was my substitution of dental floss for the nylon cord that supplied carriage-advancing tension.
For typing up clean drafts, my wife and I shared a forty-pound electric Smith-Corona. Our old Chevy Nova was strictly a fair-weather friend, and it always seemed to be snowing when the Smith-Corona broke down. In the early eighties, in Boston, snow would pile up in drifts that my wife and I would struggle over, bundled like peasants as we half-dragged and half-carried the Smith-Corona to the Harvard Coop. Somewhere in the Coop’s bowels dwelt a man named Mr. Palumbo. I never met Mr. Palumbo face to face, but we spoke on the telephone often. He had a raspy voice and you knew he was up to his elbows in machine oil. Mr. Palumbo loved the inexpensive fix, and I loved him for loving it. Once, on one of those prematurely indigo late afternoons that descend on Boston, he called to tell me that the main shaft had broken off the Smith-Corona’s motor and that the motor would have to be replaced, at a cost of fifty dollars. It was obvious that he hated to have to tell me this. An hour or two later, well after nightfall, he called me again. “I fixed it!” he shouted. “I glued it. I epoxy-glued the shaft back on the motor!” As I recall, he charged us eighteen dollars for this service.
I bought my first computer in 1989. It was a noisy metal box made by Amdek, with a paper-white VGA monitor. In good codependent form, I came to appreciate the noise of the Amdek’s fan’s hum. I told myself I liked the way it cut out the noise from the street and other apartments. But after about two years of heavy use the Amdek developed a new, frictive squeal whose appearance and disappearance seemed (although I was never quite sure of this) to follow the rise and fall of the air’s relative humidity. My first solution was to wear earplugs on muggy days. After six months of earplugs, however, with the squeal becoming more persistent, I removed the computer’s sheet-metal casing. Holding my ear close, I fiddled and poked. Then the squeal stopped for no reason, and for several days I wrote fiction on a topless machine, its motherboard and colorful wires exposed. And when the squeal returned, I discovered that I could make it stop by applying pressure to the printed-circuit board that controlled the hard disk. There was a space that I could wedge a pencil into, and if I torqued the pencil with a rubber band, the corrective pressure held. The cover of the computer didn’t fit right when I put it back on; I accidentally stripped the threads off a screw and had to leave one corner of the cover sort of flapping.
To some extent, of course, everyone who is less than wealthy learns to cope with ailing equipment. Some of us are simply more vain about our coping. But it’s not simply for their affirmation of my nature that I value my memories of writing prose on half-broken machines. The image of my decrepit but still-functional Amdek is also, for me, an image of America’s enduring raggedness. Obsolescence is the leading product of our national infatuation with technology, and I now believe that obsolescence is not a darkness but a beauty: not perdition but salvation. The more headlong the progress of technological development, the greater the volume of obsolete detritus. And the detritus isn’t simply material. It’s angry religion, resurgent countercultural ideologies, the newly unemployed, the eternally unemployable. These are the fiction writers’ guarantee that they will never be alone. Ineluctable obsolescence is our legacy.
Imaginative writing is fundamentally amateur. It’s the lone person scouring the trash heap, not the skilled team assembling an entertainment, and we Americans are lucky enough to live in the most wonderful world of junk. Once, when I lived in Munich, I stole two cobblestones from a sidewalk construction site. I intended to wrap them in newspaper and make bookends. It was a Saturday afternoon, the streets were empty, and yet my theft seemed so terribly, terribly transgressive that I ran for blocks, a stone in each hand, before I was sure I was safe. And still I felt the stern eye of the State on me. Whereas in New York, where I now live, the Dumpsters practically invite me to relieve them of their useful bricks and lumber. Street people share lore with me over curbside dumps at midnight, under streetlamps. In the wee hours they spread their finds on soiled quilts at the corner of Lexington and Eighty-sixth Street and barter dubious clock radios for chipped glass doorknobs. Use and abandonment are the aquifer through which consumer objects percolate, shedding the taint of mass production and emerging as historied individuals.
It’s tempting to imagine the American writer’s resistance to technoconsumerism—a resistance which unfortunately in most cases takes the form of enforced economic hardship—as some kind of fungible political resistance. Not long ago, one of my former undergraduate workshop students came to visit, and I took him on a walk in my neighborhood. Jeff is a skilled, ambitious young person, gaga over Pynchon’s critique of technology and capitalism, and teetering between pursuing a Ph.D. in English and trying his hand at fiction. On our walk I ranted at him. I said that I too had once been seduced by critical theory’s promise of a life unco-opted by the System, but that after my initial seduction I came to see that university tenure itself—the half-million-dollar TIAA-CREF account in your name, the state-of-the-art computer supplied to you at a university discount by the Apple Corporation for the composition of your “subversive” monographs—is the means by which the System co-opts the critical theorist. I said that fiction is refuge, not agency.
Then we passed a delicious trash pile, and I pulled from it a paint-and plaster-spattered wooden chair with a broken seat and found a scrap of two-by-four to knock the bigger clumps of plaster off. It was grubby work. Jeff said: “This is what my life will be like if I write fiction?”
After years of depression, I didn’t care how forgiving of myself I sounded. I said that what mattered to me was the rescue. I c
ould probably afford a new chair; that I prefer to live among the scavenged and reborn is my own private choice.
A sponge bath, a scrap of sturdy ash plywood from a dresser drawer abandoned at curbside, eight scavenged brass screws to attach the plywood to the underside of the seat, and a black magic marker to mask the spatters of white paint: this is how the chair was rescued.
[1996]
CONTROL UNITS
From Colorado Route 67, the gatehouse of the Federal Correctional Complex looks like a pavilion from an up-scale park. It has jade-colored accents and is bordered with pink gravel. As I approach it in my car, I can make out two black men in neckties behind the smoked glass windows. One of them emerges to check my ID and ask if I have weapons. I tell him I’m supposed to meet Mr. Louis Winn at one o’clock.
The guard says, “Who?”
I tell him again. With a puzzled look he returns to the pavilion, and the other man comes out. He has an ebbing hairline and a vaguely Langston Hughesish air. He’s wearing a beautiful gray pin-striped suit. “Louis Winn,” he says without a smile, shaking my hand through the open window.
“Oh, you’re Mr. Winn,” I reply with smile big enough for both of us. I’m convinced he thinks that I’m surprised because he isn’t white. He tells me to follow his car up the hill. Feeling ill-served by the guard, I dig my hole deeper by persisting: “The guard didn’t seem to know who you were.”
Mr. Winn gives me a look of withering disappointment and, without a word, proceeds to his car.
Here in Florence, Colorado, the business of American law and order is booming. The Federal Correctional Complex is the showy new product of a war on drugs which, however much or little it has curbed the nation’s illicit appetites, has helped double the federal prison population in less than a decade. The people of Florence were so keen to have its business that they bought land for the complex and presented it as a gift to the Bureau of Prisons. I’ve come to look at how the business works, inside and outside the fences.
The centerpiece of FCC Florence is the Administrative Maximum Facility, a sixty-million-dollar state-of-the-art warehouse for what the popular press likes to call the “worst of the worst” federal prisoners. ADX Florence, Alcatraz of the Rockies, and Admax are some of its aliases. John Gotti may eventually be shipped here, but Manuel Noriega won’t. (He’s a Panamanian national, and ADX’s protocols violate the Geneva Convention.) ADX currently houses about 250 prisoners—just over half its capacity—and they are locked in their cells for as many as twenty-three hours a day, deprived almost entirely of human contact. Unless capital punishment should happen to become routine, the logic and technology of American corrections are unlikely to advance any further than the systems of control at ADX.
According to Bureau of Prisons (BOP) literature, the mission of ADX “is to impact inmate behavior such that inmates who demonstrate non-dangerous behavior and participate in required programs progress to another, more open Bureau of Prisons facility.” Most of ADX’s inmates have been transferred from less secure prisons for misbehavior. Eighteen percent have murdered a fellow inmate, sixteen percent have assaulted a fellow inmate with a weapon, fifteen percent have escaped or attempted escape, and ten percent have assaulted prison staff members with a weapon. There is also a handful of inmates whom, because of their subversive political views, the Fed considers terrorists. I’ve requested interviews with two political prisoners: Mutulu Shakur and Ray Luc Levasseur.
FCC Florence has four facilities. From the gatehouse, the road winds uphill past a fenceless minimum-security prison camp (“Club Fed”), an inviting medium-security Federal Correctional Institution, a stern maximum-security penitentiary, and the triangular brick bunker that is ADX. Arid high prairie has, with federal correction, become a sprinkled, landscaped campus. When I lived in Colorado Springs, I often passed the construction site of this complex on my way to hiking trails in the Sangre de Cristos. The architecture is stripy and angular, full of teal and salmon. Until the razor wire went up I thought some real-estate cowboy was building a strangely isolated office park with energy-conserving windows.
At the check-in counter, a blond receptionist named Donna signs me in, backs me against a red brick wall, and shoots me three times with a Polaroid. All the while, she’s casually communicating with someone deep in the bowels of ADX, telling them to “bring Shakur up.” The volume and signal strength of ADX’s radios are calibrated so that voices commence speaking at conversational strength, without crackle or distortion; the speaker seems almost to be physically present. Word comes back to Donna that Shakur is being fetched. She stamps my forearm with invisible ink and holds it under a black light. The word TAMP fluoresces.
“It’s supposed to say STAMP,” Donna says, stamping me again. We check under the black light, and the second word is also TAMP. She stamps me a third time and makes a complete mess. Mr. Winn intercedes with an impatient mutter, and already I’m grateful that someone besides me has incurred his disappointment.
Although ADX is the first federal prison designed specifically for round-the-clock isolation of prisoners, the institution of solitary confinement is nearly as old as the republic. In 1823 the Commonwealth of Pennsylvania opened the Eastern State Penitentiary in Philadelphia, and what became known as the “Pennsylvania system” was copied by jail builders around the world. The Quakers who designed Eastern State believed that jails in which prisoners were housed in common rooms bred depravity, and so at Eastern State each prisoner had a cell and private exercise yard which he never left. If the prisoner had to be moved, a black hood was placed over his head to bar the ingress of free-floating depravity. That prisoners in perpetual solitary confinement often hanged themselves or battered themselves to death was attributed to insanity induced by masturbation.
Over the decades, as American jail space became more precious and penological thinking evolved, routine solitary confinement fell out of favor. By the middle of this century, court rulings had placed strict limits on the use of isolation for discipline. Beginning in the seventies, however, the idea of perpetual lockdown was resurrected as “segregation” for “administrative” purposes. Isolation as a means of controlling prisoners, rather than of punishing them, was considered “administrative” and therefore OK.
Supermaxes represent a hardening of the battle lines between society and its criminal products, and more than twenty-five states now have them. The most notorious is in California, where the confluence of a vengeful public’s know-nothingism and rising intramural gang violence led to the construction of a huge high-tech “control unit” facility at Pelican Bay, just south of the Oregon border. In January of 1995, five years after Pelican Bay opened, several aspects of its brand of punishment were deemed cruel and unusual by a federal district judge, Thelton Henderson, who said, in effect, that Californians’ wish to “lock ’em up and throw away the key” had created a nightmare. Prisoners at Pelican Bay were routinely denied access to medical and mental-health care, suffered gratuitous violence from guards, and showed signs of psychological damage—sleeplessness, inability to concentrate, suicidal thoughts, an aggravated rage against society—almost certainly caused by prolonged isolation. Because Judge Henderson did not go so far as to shut the facility down, however, state prison officials considered his ruling a victory.
The first thing I notice at ADX Florence are the floors. They are mostly linoleum, in checkerboard patterns and custom colors like adobe red and poppy-seed gray, and they’re waxed and buffed to a remarkable sheen. They seem to beg notice and comment. Ditto the cleanliness of ADX, the solidness of its steel fittings, the dapper white shirts and garnet ties and outstanding grooming of its guards, its disorienting nonrectilinear layout, and its unobtrusive but effective protocols: these are all on display. Indeed, it’s possible to read into the place’s high gloss a conscious effort to buff away the tarnish that the “control unit” concept received from Pelican Bay and from ADX’s own predecessor in Marion, Illinois—a supermax whose reputation Amnesty
International has blackened periodically.
Even as I admire the sheen at ADX, however, there are things that I won’t notice until after I leave. Not until I get back in my baking car and nearly scald my mouth by drinking from the water bottle I left in it, for example, will I realize that the temperature in ADX has been perfect. Same deal with ADX’s smell, of which there is a complete absence except in one corridor where I catch a whiff of something pleasant, something on the cusp between organic and inorganic—fresh spackle, maybe. ADX’s lighting is ideal: never harsh, easy to read by. The sounds: no clanking, no distant shouts, no barking intercom. The automatic doors hum when they open and click shut without echo. Mr. Winn speaks in a low voice—