Everyone is familiar with the slogan "The personal is political" -- not only that what we experience on a personal level has profound political implications, but that our interior lives, our emotional lives are very much informed by ideology. We oftentimes do the work of the state in and through our interior lives. What we often assume belongs most intimately to ourselves and to our emotional life has been produced elsewhere and has been recruited to do the work of racism and repression.

We have inherited a fear of memories of slavery. It is as if to remember and acknowledge slavery would amount to our being consumed by it. As a matter of fact, in the popular black imagination, it is easier for us to construct ourselves as children of Africa, as the sons and daughters of kings and queens, and thereby ignore the Middle Passage and centuries of enforced servitude in the Americas. Although some of us might indeed be the descendants of African royalty, most of us are probably descendants of their subjects, the daughters and sons of African peasants or workers.

This is central to the development of feminist abolitionist theories and practices: we have to learn how to think and act and struggle against that which is ideologically constituted as "normal".

The process of trying to assimilate into an existing category in many ways runs counter to efforts to produce radical or revolutionary results.

In seeking to understand this gendered difference in the perception of prisoners, it should be kept in mind that as the prison emerged and evolved as the major form of public punishment, women continued to be routinely subjected to forms of punishment that have not been acknowledged as such. For example, women have been incarcerated in psychiatric institutions in greater proportions than in prisons. 79 Studies indicating that women have been even more likely to end up in mental facilities than men suggest that while jails and prisons have been dominant institutions for the control of men, mental institutions have served a similar purpose for women. That deviant men have been constructed as criminal, while deviant women have been constructed as insane. Regimes that reflect this assumption continue to inform the women’s prison. Psychiatric drugs continue to be distributed far more extensively to imprisoned women than to their male counterparts.

[Prison] relieves us of the responsibility of seriously engaging with the problems of our society, especially those produced by racism and, increasingly, global capitalism.

Pregressive art can assist people to learn not only about the objective forces at work in the society in which they live, but also about the intensity social character of their interior lives. Ultimately, it can propel people toward social emancipation

In a racist society it is not enough to be non-racist, we must be anti-racist.

If we do not know how to meaningfully talk about racism, our actions will move in misleading directions.

Sometimes we have to do the work even though we don't yet see a glimmer on the horizon that it's actually going to be possible.

A major challenge of this movement is to do the work that will create more humane, habitable environments for people in prison without bolstering the permanence of the prison system. How, then, do we accomplish this balancing act of passionately attending to the needs of prisoners- calling for less violent conditions, an end to state sexual assault, improved physical and mental health care, greater access to drug programs, better educational work opportunities, unionization of prison labor, more connections with families and communities, shorter or alternative sentencing- and at the same time call for alternatives to sentencing altogether, no more prison construction, and abolitionist strategies that question the place of prison in our future?

What can we learn from women like Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday that we may not be able to learn from Ida B. Wells, Anna Julia Cooper, and Mary Church Terrell? If we were beginning to appreciate the blasphemies of fictionalized blues women - especially their outrageous politics of sexuality - and the knowledge that might be gleaned from their lives about the possibilities of transforming gender relations within black communities, perhaps we also could benefit from a look at the artistic contributions of the original blues women.