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Opinion | I Survived 18 Years in Solitary Confinement - The New York Times - 0 views

www.nytimes.com/...litary-confinement-reform.html

shared by anonymous on 26 Mar 21 - No Cached
  • I Survived 18 Years in Solitary Confinement
  • Mr. Manuel is an author, activist and poet. When he was 14 years old, he was sentenced to life in prison with no parole and spent 18 years in solitary confinement.
  • Imagine living alone in a room the size of a freight elevator for almost two decades.
  • ...33 more annotations...
  • As a 15-year-old, I was condemned to long-term solitary confinement in the Florida prison system, which ultimately lasted for 18 consecutive years
  • From age 15 to 33.
  • For 18 years I didn’t have a window in my room to distract myself from the intensity of my confinement
  • I wasn’t permitted to talk to my fellow prisoners or even to myself. I didn’t have healthy, nutritious food; I was given just enough to not die
  • These circumstances made me think about how I ended up in solitary confinement.
  • United Nations standards on the treatment of prisoners prohibits solitary confinement for more than 15 days, declaring it “cruel, inhuman or degrading.”
  • For this I was arrested and charged as an adult with armed robbery and attempted murder.
  • My court-appointed lawyer advised me to plead guilty, telling me that the maximum sentence would be 15 years. So I did. But my sentence wasn’t 15 years — it was life imprisonment without the possibility of parole.
  • But a year and a half later, at age 15, I was put back into solitary confinement after being written up for a few minor infractions.
  • Florida has different levels of solitary confinement; I spent the majority of that time in one of the most restrictive
  • I was finally released from prison in 2016 thanks to my lawyer, Bryan Stevenson
  • Researchers have long concluded that solitary confinement causes post-traumatic stress disorder and impairs prisoners’ ability to adjust to society long after they leave their cell.
  • In the summer of 1990, shortly after finishing seventh grade, I was directed by a few older kids to commit a robbery. During the botched attempt, I shot a woman. She suffered serious injuries to her jaw and mouth but survived. It was reckless and foolish on my part, the act of a 13-year-old in crisis, and I’m simply grateful no one died.
  • More aggressive change is needed in state prison systems
  • In 2016, the Obama administration banned juvenile solitary confinement in federal prisons, and a handful of states have advanced similar reforms for both children and adults.
  • Yet the practice, even for minors, is still common in the United States, and efforts to end it have been spotty
  • Because solitary confinement is hidden from public view and the broader prison population, egregious abuses are left unchecked
  • I watched a corrections officer spray a blind prisoner in the face with chemicals simply because he was standing by the door of his cell as a female nurse walked by. The prisoner later told me that to justify the spraying, the officer claimed the prisoner masturbated in front of the nurse.
  • I also witnessed the human consequences of the harshness of solitary firsthand: Some people would resort to cutting their stomachs open with a razor and sticking a plastic spork inside their intestines just so they could spend a week in the comfort of a hospital room with a television
  • On occasion, I purposely overdosed on Tylenol so that I could spend a night in the hospital. For even one night, it was worth the pain.
  • Another time, I was told I’d be switching dorms, and I politely asked to remain where I was because a guard in the new area had been overly aggressive with me. In response, four or five officers handcuffed me, picked me up by my feet and shoulders, and marched with me to my new dorm — using my head to ram the four steel doors on the way there.
  • The punishments were wholly disproportionate to the infractions. Before I knew it, months in solitary bled into years, years into almost two decades.
  • As a child, I survived these conditions by conjuring up stories of what I’d do when I was finally released. My mind was the only place I found freedom from my reality
  • the only place I could play basketball with my brother or video games with my friends, and eat my mother’s warm cherry pie on the porch.
  • No child should have to use their imagination this way — to survive.
  • It is difficult to know the exact number of children in solitary confinement today. The Liman Center at Yale Law School estimated that 61,000 Americans (adults and children) were in solitary confinement in the fall of 2017
  • No matter the count, I witnessed too many people lose their minds while isolated. They’d involuntarily cross a line and simply never return to sanity. Perhaps they didn’t want to. Staying in their mind was the better, safer, more humane option.
  • Solitary confinement is cruel and unusual punishment, something prohibited by the Eighth Amendment, yet prisons continue to practice it.
  • When it comes to children, elimination is the only moral option. And if ending solitary confinement for adults isn’t politically viable, public officials should at least limit the length of confinement to 15 days or fewer, in compliance with the U.N. standards
  • As I try to reintegrate into society, small things often awaken painful memories from solitary. Sometimes relationships feel constraining. It’s difficult to maintain the attention span required for a rigid 9-to-5 job. At first, crossing the street and seeing cars and bikes racing toward me felt terrifying.
  • I will face PTSD and challenges big and small for the rest of my life because of what I was subjected to.
  • And some things I never will — most of all, that this country can treat human beings, especially children, as cruelly as I was treated.
  • Sadly, solitary confinement for juveniles is still permissible in many states. But we have the power to change that — to ensure that the harrowing injustice I suffered as a young boy never happens to another child in America.
  • anonymous on 26 Mar 21
     
    A very eye-opening article and story told by a victim about young children facing solitary confinement.
Javier E

The Ugly Honesty of Elon Musk's Twitter Rebrand - The Atlantic - 0 views

www.theatlantic.com/...674875

internet adolescent immature juvenile sexism bias psychology social media

shared by Javier E on 08 Aug 23 - No Cached
  • Sexual desire and frustration, familiar feelings for the outcast teenage nerd, pervade the social internet. S3xy-ness is everywhere. Posts by women are dismayingly likely to produce advances, or threats, from creepers on all platforms; at the same time, sex appeal is a pillar for the influencer economy, or else a viable and even noble way to win financial independence. The internet is for porn, as the song goes.
  • In all these ways, online life today descends from where it started, as a safe harbor for the computer nerds who made it. They were socially awkward, concerned with machines instead of people, and devoted to the fantasy of converting their impotence into power.
  • When that conversion was achieved, and the nerds took over the world, they adopted the bravado of the jocks they once despised. (Zuck-Musk cage match, anyone?) But they didn’t stop being nerds. We, the public, never agreed to adopt their worldview as the basis for political, social, or aesthetic life. We got it nevertheless.
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  • I’m kind of tired of pretending that the stench does not exist, as if doing otherwise would be tantamount to expressing prejudice against neurodivergence. This is a bad culture, and it always has been.
  • If the X rebrand disgusts you—if, like me, you’ve been made a little queasy by having the new logo thrust upon your phone via automatic update—that feeling is about more than Musk alone. He has merely surfaced what has been there all along. The internet is magical and empowering. The internet is childish and disgusting.
  • Musk’s obsession with X as a brand, and his childish desire to broadcast that obsession from the rooftops in hoggish, bright pulsations, calls attention to this baggage. It reminds us that the world’s richest man is a computer geek, but one with enormous power instead of none
  • It calls attention to the putrid smell that suffuses the history of the internet
Javier E

J. D. Vance and the Collapse of Dignity - The Atlantic - 0 views

www.theatlantic.com/...671704

dignity collapse politics us got leadership virtue extremism populism cruelty boorishness juvenile better politicians

shared by Javier E on 12 Oct 22 - No Cached
  • Americans once expected politicians to carry themselves with a seriousness that indicated their ability and willingness to tackle problems, whether poverty or war, that were too difficult for the rest of us. We elected such people not because we wanted them to be like us but because we hoped that they were better than us: smarter, tougher, and capable of being leaders and role models.
  • ven some of the most flawed people we elevated to high office at least pretended to be better people, and thus were capable of inspiring us to be a better nation.
  • Today, we no longer expect or even want our politicians to be better than we are.
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  • The new American right, however, has blown past the relatively innocuous populism of the past 40 years and added a fetid cynicism about almost everything related to public life.
  • Not only are the MAGA Republicans seemingly repelled by the idea of voting for someone better than they are; they support candidates who are often manifestly worse people than the average citizen, so that they may slather their fears about their own shortcomings and prejudices under a sludgy and undifferentiated hatred about almost everyone in public office.
  • These populists not only look past the sins of their candidates but also defend and even celebrate them
  • The same Republicans who claim to venerate the Founders and the Constitution have intentionally turned our politics into a scuzzy burlesque.
  • consider how many people cheer on unhinged cranks such as Marjorie Taylor Greene or allow themselves to be courted by smarmy opportunists such as Vance and Ted Cruz.
  • This new populism, centered in the modern Republican Party, has no recognizable policy content beyond the thrill of cruelty and a juvenile boorishness meant largely to enrage others.
  • The GOP’s goals now boil down to power for its elected royalty and cheap coliseum pleasures for its rank and file.
  • Republicans, therefore, are forced to lower their—and our—standards for admission to public office, because the destruction of dignity is the only way they can find the candidates who will do what decent men and women will not, including abasing themselves to Donald Trump.
  • Let us leave aside the cult around Trump, which has now reached such levels of weirdness that the specter of Jim Jones is probably pacing about the netherworld in awe.
  • I’m an adult. I get it. Our elected officials aren’t saints, and only rarely are they heroes. But must they now be a cavalcade of clowns and charlatans, joyously parading their embrace of vice and their rejection of virtue? The Republican Party seems to think so.
Megan Flanagan

'Affluenza' teen's mom, Tonya Couch, has bond lowered - CNN.com - 0 views

www.cnn.com/...index.html

brain mom crisis

shared by Megan Flanagan on 14 Jan 16 - No Cached
  • has posted bail after her bond was lowered from $1 million to $75,000.
  • after she's fitted with an electronic ankle monitor
  • Tonya Couch of helping her son leave the country to avoid a probation hearing that might have led to jail time for him
  • ...9 more annotations...
  • after a Los Angeles judge approved her extradition more than a week after Mexican authorities detained mother and son in a Pacific resort town
  • undergo a mental exam after the court found "reasonable cause" to believe that she suffers from "a mental illness or is a person with a mental retardation,"
  • mental examination will determine whether there is clinical evidence to support the argument that Tonya Couch may be incompetent to stand trial.
  • withdrew $30,000 from her account and told her husband that he would not see them again,
  • on probation for killing four people in a drunken driving accident in 2013, when he was 16.
  • lawyers cited the now notorious "affluenza" defense, suggesting he was too rich and spoiled to understand the consequences of his actions.
  • Mexican judge granted the teen a temporary stay, halting deportation proceedings.
  • Mothers Against Drunk Driving started a petition
  • ask for Ethan Couch to be moved from the juvenile justice system to the adult criminal system
Javier E

The Death of Adulthood in American Culture - NYTimes.com - 0 views

www.nytimes.com/...thood-in-american-culture.html

adult adolescence literature

shared by Javier E on 25 Mar 15 - No Cached
  • It seems that, in doing away with patriarchal authority, we have also, perhaps unwittingly, killed off all the grown-ups.
  • , the journalist and critic Ruth Graham published a polemical essay in Slate lamenting the popularity of young-adult fiction among fully adult readers. Noting that nearly a third of Y.A. books were purchased by readers ages 30 to 44 (most of them presumably without teenage children of their own), Graham insisted that such grown-ups “should feel embarrassed about reading literature for children.”
  • In my main line of work as a film critic, I have watched over the past 15 years as the studios committed their vast financial and imaginative resources to the cultivation of franchises (some of them based on those same Y.A. novels) that advance an essentially juvenile vision of the world. Comic-book movies, family-friendly animated adventures, tales of adolescent heroism and comedies of arrested development do not only make up the commercial center of 21st-century Hollywood. They are its artistic heart.
  • ...13 more annotations...
  • At sea or in the wilderness, these friends managed to escape both from the institutions of patriarchy and from the intimate authority of women, the mothers and wives who represent a check on male freedom.
  • What all of these shows grasp at, in one way or another, is that nobody knows how to be a grown-up anymore. Adulthood as we have known it has become conceptually untenable.
  • From the start, American culture was notably resistant to the claims of parental authority and the imperatives of adulthood. Surveying the canon of American literature in his magisterial “Love and Death in the American Novel,” Leslie A. Fiedler suggested, more than half a century before Ruth Graham, that “the great works of American fiction are notoriously at home in the children’s section of the library.”
  • “The typical male protagonist of our fiction has been a man on the run, harried into the forest and out to sea, down the river or into combat — anywhere to avoid ‘civilization,’ which is to say the confrontation of a man and woman which leads to the fall to sex, marriage and responsibility. One of the factors that determine theme and form in our great books is this strategy of evasion, this retreat to nature and childhood which makes our literature (and life!) so charmingly and infuriatingly ‘boyish.’ ”
  • What Fiedler notes, and what most readers of “Huckleberry Finn” will recognize, is Twain’s continual juxtaposition of Huck’s innocence and instinctual decency with the corruption and hypocrisy of the adult world.
  • we’ve also witnessed the erosion of traditional adulthood in any form, at least as it used to be portrayed in the formerly tried-and-true genres of the urban cop show, the living-room or workplace sitcom and the prime-time soap opera. Instead, we are now in the age of “Girls,” “Broad City,” “Masters of Sex” (a prehistory of the end of patriarchy), “Bob’s Burgers” (a loopy post-"Simpsons” family cartoon) and a flood of goofy, sweet, self-indulgent and obnoxious improv-based web videos.
  • we have a literature of boys’ adventures and female sentimentality. Or, to put it another way, all American fiction is young-adult fiction.
  • The bad boys of rock ‘n’ roll and the pouting screen rebels played by James Dean and Marlon Brando proved Fiedler’s point even as he was making it. So did Holden Caulfield, Dean Moriarty, Augie March and Rabbit Angstrom — a new crop of semi-antiheroes
  • We devolve from Lenny Bruce to Adam Sandler, from “Catch-22” to “The Hangover,” from “Goodbye, Columbus” to “The Forty-Year-Old Virgin.”
  • Unlike the antiheroes of eras past, whose rebellion still accepted the fact of adulthood as its premise, the man-boys simply refused to grow up, and did so proudly. Their importation of adolescent and preadolescent attitudes into the fields of adult endeavor (see “Billy Madison,” “Knocked Up,” “Step Brothers,” “Dodgeball”) delivered a bracing jolt of subversion, at least on first viewing. Why should they listen to uptight bosses, stuck-up rich guys and other readily available symbols of settled male authority?
  • That was only half the story, though. As before, the rebellious animus of the disaffected man-child was directed not just against male authority but also against women. I
  • their refusal of maturity also invites some critical reflection about just what adulthood is supposed to mean. In the old, classic comedies of the studio era — the screwbally roller coasters of marriage and remarriage, with their dizzying verbiage and sly innuendo — adulthood was a fact. It was inconvertible and burdensome but also full of opportunity. You could drink, smoke, flirt and spend money.
  • The desire of the modern comic protagonist, meanwhile, is to wallow in his own immaturity, plumbing its depths and reveling in its pleasures.
Javier E

In Defense of Facts - The Atlantic - 1 views

www.theatlantic.com/...508748

essay fact culture truth science knowledge wisdom skepticism research

shared by Javier E on 11 Dec 16 - No Cached
  • over 13 years, he has published a series of anthologies—of the contemporary American essay, of the world essay, and now of the historical American essay—that misrepresents what the essay is and does, that falsifies its history, and that contains, among its numerous selections, very little one would reasonably classify within the genre. And all of this to wide attention and substantial acclaim
  • D’Agata’s rationale for his “new history,” to the extent that one can piece it together from the headnotes that preface each selection, goes something like this. The conventional essay, nonfiction as it is, is nothing more than a delivery system for facts. The genre, as a consequence, has suffered from a chronic lack of critical esteem, and thus of popular attention. The true essay, however, deals not in knowing but in “unknowing”: in uncertainty, imagination, rumination; in wandering and wondering; in openness and inconclusion
  • Every piece of this is false in one way or another.
  • ...31 more annotations...
  • There are genres whose principal business is fact—journalism, history, popular science—but the essay has never been one of them. If the form possesses a defining characteristic, it is that the essay makes an argument
  • That argument can rest on fact, but it can also rest on anecdote, or introspection, or cultural interpretation, or some combination of all these and more
  • what makes a personal essay an essay and not just an autobiographical narrative is precisely that it uses personal material to develop, however speculatively or intuitively, a larger conclusion.
  • Nonfiction is the source of the narcissistic injury that seems to drive him. “Nonfiction,” he suggests, is like saying “not art,” and if D’Agata, who has himself published several volumes of what he refers to as essays, desires a single thing above all, it is to be known as a maker of art.
  • D’Agata tells us that the term has been in use since about 1950. In fact, it was coined in 1867 by the staff of the Boston Public Library and entered widespread circulation after the turn of the 20th century. The concept’s birth and growth, in other words, did coincide with the rise of the novel to literary preeminence, and nonfiction did long carry an odor of disesteem. But that began to change at least as long ago as the 1960s, with the New Journalism and the “nonfiction novel.”
  • What we really seem to get in D’Agata’s trilogy, in other words, is a compendium of writing that the man himself just happens to like, or that he wants to appropriate as a lineage for his own work.
  • What it’s like is abysmal: partial to trivial formal experimentation, hackneyed artistic rebellion, opaque expressions of private meaning, and modish political posturing
  • If I bought a bag of chickpeas and opened it to find that it contained some chickpeas, some green peas, some pebbles, and some bits of goat poop, I would take it back to the store. And if the shopkeeper said, “Well, they’re ‘lyric’ chickpeas,” I would be entitled to say, “You should’ve told me that before I bought them.”
  • when he isn’t cooking quotes or otherwise fudging the record, he is simply indifferent to issues of factual accuracy, content to rely on a mixture of guesswork, hearsay, and his own rather faulty memory.
  • His rejoinders are more commonly a lot more hostile—not to mention juvenile (“Wow, Jim, your penis must be so much bigger than mine”), defensive, and in their overarching logic, deeply specious. He’s not a journalist, he insists; he’s an essayist. He isn’t dealing in anything as mundane as the facts; he’s dealing in “art, dickhead,” in “poetry,” and there are no rules in art.
  • D’Agata replies that there is something between history and fiction. “We all believe in emotional truths that could never hold water, but we still cling to them and insist on their relevance.” The “emotional truths” here, of course, are D’Agata’s, not Presley’s. If it feels right to say that tae kwon do was invented in ancient India (not modern Korea, as Fingal discovers it was), then that is when it was invented. The term for this is truthiness.
  • D’Agata clearly wants to have it both ways. He wants the imaginative freedom of fiction without relinquishing the credibility (and for some readers, the significance) of nonfiction. He has his fingers crossed, and he’s holding them behind his back. “John’s a different kind of writer,” an editor explains to Fingal early in the book. Indeed he is. But the word for such a writer isn’t essayist. It’s liar.
  • he point of all this nonsense, and a great deal more just like it, is to advance an argument about the essay and its history. The form, D’Agata’s story seems to go, was neglected during the long ages that worshiped “information” but slowly emerged during the 19th and 20th centuries as artists learned to defy convention and untrammel their imaginations, coming fully into its own over the past several decades with the dawning recognition of the illusory nature of knowledge.
  • Most delectable is when he speaks about “the essay’s traditional ‘five-paragraph’ form.” I almost fell off my chair when I got to that one. The five-paragraph essay—introduction, three body paragraphs, conclusion; stultifying, formulaic, repetitive—is the province of high-school English teachers. I have never met one outside of a classroom, and like any decent college writing instructor, I never failed to try to wean my students away from them. The five-paragraph essay isn’t an essay; it’s a paper.
  • What he fails to understand is that facts and the essay are not antagonists but siblings, offspring of the same historical moment
  • —by ignoring the actual contexts of his selections, and thus their actual intentions—D’Agata makes the familiar contemporary move of imposing his own conceits and concerns upon the past. That is how ethnography turns into “song,” Socrates into an essayist, and the whole of literary history into a single man’s “emotional truth.”
  • The history of the essay is indeed intertwined with “facts,” but in a very different way than D’Agata imagines. D’Agata’s mind is Manichaean. Facts bad, imagination good
  • When he refers to his selections as essays, he does more than falsify the essay as a genre. He also effaces all the genres that they do belong to: not only poetry, fiction, journalism, and travel, but, among his older choices, history, parable, satire, the sermon, and more—genres that possess their own particular traditions, conventions, and expectation
  • one needs to recognize that facts themselves have a history.
  • Facts are not just any sort of knowledge, such as also existed in the ancient and medieval worlds. A fact is a unit of information that has been established through uniquely modern methods
  • Fact, etymologically, means “something done”—that is, an act or deed
  • It was only in the 16th century—an age that saw the dawning of a new empirical spirit, one that would issue not only in modern science, but also in modern historiography, journalism, and scholarship—that the word began to signify our current sense of “real state of things.”
  • It was at this exact time, and in this exact spirit, that the essay was born. What distinguished Montaigne’s new form—his “essays” or attempts to discover and publish the truth about himself—was not that it was personal (precursors like Seneca also wrote personally), but that it was scrupulously investigative. Montaigne was conducting research into his soul, and he was determined to get it right.
  • His famous motto, Que sais-je?—“What do I know?”—was an expression not of radical doubt but of the kind of skepticism that fueled the modern revolution in knowledge.
  • It is no coincidence that the first English essayist, Galileo’s contemporary Francis Bacon, was also the first great theorist of science.
  • That knowledge is problematic—difficult to establish, labile once created, often imprecise and always subject to the limitations of the human mind—is not the discovery of postmodernism. It is a foundational insight of the age of science, of fact and information, itself.
  • The point is not that facts do not exist, but that they are unstable (and are becoming more so as the pace of science quickens). Knowledge is always an attempt. Every fact was established by an argument—by observation and interpretation—and is susceptible to being overturned by a different one
  • A fact, you might say, is nothing more than a frozen argument, the place where a given line of investigation has come temporarily to rest.
  • Sometimes those arguments are scientific papers. Sometimes they are news reports, which are arguments with everything except the conclusions left out (the legwork, the notes, the triangulation of sources—the research and the reasoning).
  • When it comes to essays, though, we don’t refer to those conclusions as facts. We refer to them as wisdom, or ideas
  • the essay draws its strength not from separating reason and imagination but from putting them in conversation. A good essay moves fluidly between thought and feeling. It subjects the personal to the rigors of the intellect and the discipline of external reality. The truths it finds are more than just emotional.
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