Crossing the Yard
Thirty Years as a Prison Volunteer
The University of Arizona Press
Ever since he was asked to critique the poetry of a convicted murderer, he has lived in two worlds.
Richard Shelton was a young English professor in 1970 when a convict named Charles Schmid—a serial killer dubbed the “Pied Piper of Tucson” in national magazines—shared his brooding verse. But for Shelton, the novelty of meeting a death-row monster became a thirty-year commitment to helping prisoners express themselves. Shelton began organizing creative writing workshops behind bars, and in this gritty memoir he offers up a chronicle of reaching out to forgotten men and women—and of creativity blossoming in a repressive environment. He tells of published students such as Paul Ashley, Greg Forker, Ken Lamberton, and Jimmy Santiago Baca who have made names for themselves through their writing instead of their crimes. Shelton also recounts the bittersweet triumph of seeing work published by men who later met with agonizing deaths, and the despair of seeing the creative strides of inmates broken by politically motivated transfers to private prisons. And his memoir bristles with hard-edged experiences, ranging from inside knowledge of prison breaks to a workshop conducted while a riot raged outside a barricaded door. Reflecting on his decision to tutor Schmid, Shelton sees that the choice “has led me through bloody tragedies and terrible disappointments to a better understanding of what it means to be human.”
Crossing the Yard is a rare story of professional fulfillment—and a testament to the transformative power of writing.
Richard Shelton was a young English professor in 1970 when a convict named Charles Schmid—a serial killer dubbed the “Pied Piper of Tucson” in national magazines—shared his brooding verse. But for Shelton, the novelty of meeting a death-row monster became a thirty-year commitment to helping prisoners express themselves. Shelton began organizing creative writing workshops behind bars, and in this gritty memoir he offers up a chronicle of reaching out to forgotten men and women—and of creativity blossoming in a repressive environment. He tells of published students such as Paul Ashley, Greg Forker, Ken Lamberton, and Jimmy Santiago Baca who have made names for themselves through their writing instead of their crimes. Shelton also recounts the bittersweet triumph of seeing work published by men who later met with agonizing deaths, and the despair of seeing the creative strides of inmates broken by politically motivated transfers to private prisons. And his memoir bristles with hard-edged experiences, ranging from inside knowledge of prison breaks to a workshop conducted while a riot raged outside a barricaded door. Reflecting on his decision to tutor Schmid, Shelton sees that the choice “has led me through bloody tragedies and terrible disappointments to a better understanding of what it means to be human.”
Crossing the Yard is a rare story of professional fulfillment—and a testament to the transformative power of writing.
The stories. . . are enticing observations about life, literature, incarceration, and the human condition, which make for a book that is hard to put down. Shelton writes with skill and candor about society's exiles and their hidden talents, which he was able to bring out in his workshops; his own talents as a writer give the book its power. Both eye-opening and enchanting, this volume would certainly be a worthwhile addition to any collection.’—Library Journal starred review
‘In a spellbinding memoir chronicling the uncommon challenges and unexpected rewards of reaching out to some of society’s most complex and generally forgotten members, Shelton’s triumphant paean to the tenacity of the creative spirit celebrates the courage of hopeless men who bravely found a way to express their essential humanity.’—Booklist
‘This book is a tribute to Richard Shelton’s artistry, to the power of words, and to the talent of men behind bars. ‘You have saved me before they might have destroyed me,’ writes one of his former workshop participants, ‘I am singing.’ In this deeply felt and honest memoir, Shelton teaches us the meaning of compassion and makes a moving plea for the arts in prison.’—Jean Trounstine, author of Shakespeare Behind Bars: The Power of Drama in a Women’s Prison
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