What we know about him: VCU professor, has a daughter, etc.
Purpose: The opportunity to make a difference through his teaching – asking “why?”
Questions to ask:
- How has the prison literature class progressed since the book came out?
- What would you do differently (cliche?)
- Is he still in contact with the guys in the book/how often does he meet with them?
- How has his story progressed since the end of the book?
- What happened that didn’t make it into the book?
- How did he learn which questions to ask?
- How did you prepare for the visits/classes?
Page numbers: xi-xii, 1-4, 5, 7-16, 241 (beginning of each chapter), 54, 33, 120,
Themes:
- Perspective:
- “‘That’s why I asked if you jumped or got dropped into the tank,’ I say, taking advantage of the moment.”
- “‘OK, right there!’ I say. ‘What made you let that change happen? I mean, it could have been a one-time thing, couldn’t it? You weren’t looking to get high that night. What made you want to go back and keep getting high? What were you really looking for?'”
- “‘You always knew the right questions to ask.'”
- “‘Now, you’re looking at a guy who grew up in an upper-middle-class, white suburb in Connecticut. In Connecticut!’ I repeat, spreading my arms wide.”
- Guidance (Mentor):
- What does he become to them? A character witness, a sponsor, a connection to the outside, a way of connecting to themselves? There’s a note that some people are followers, and when they’re together, they follow him.
- “‘But everyone’s life is a drama,’ I argue. ‘The real question is who wrote the script. You’ve been playing a role I the streets that’s led you into jail. In order to play another role in life that keeps you out of jail, you need to write a new script. And to do that, you n need to figure out how the old script got made, which means you need to question generalizations like ‘the streets’ and ‘peer pressure.’ You have to figure out what those things really are to you.'”
- “‘We’re the stew,’ Ronald says, turning toward him. ‘Dave’s just stirring the pot.'” (pg 15)