Amanda Coyne Long Good-Bye: Mother’s Day in Federal Prison

77

Instructor's Notes

  • The “Make Connections” activity can be used as a discussion board prompt by clicking on “Add to This Unit,”" selecting “Create New,” choosing “Discussion Board,” and then pasting the “Make Connections” activity into the text box.
  • The basic features (“Analyze and Write”) activities following this reading, as well as an autograded multiple-choice quiz, a summary activity with a sample summary as feedback, and a synthesis activity for this reading, can be assigned by clicking on the “Browse Resources for the Unit” button or navigating to the “Resources” panel."
image
Courtesy of Amanda Coyne

AMANDA COYNE earned a master of fine arts degree in creative writing at the University of Iowa, where she was the recipient of an Iowa Arts Fellowship. She was the cofounder of and a writer for the Alaska Dispatch, an award-winning online news site. Her work has appeared in such publications as Harper’s,The New York Times Magazine, Bust, Newsweek, and The Guardian. Coyne coauthored a book about oil and politics in Alaska entitled Crude Awakening: Money, Mavericks, and Mayhem in Alaska (2011). She also started a blog about Alaska politics in 2013.

“The Long Good-Bye,” her first piece of published writing, originally appeared in Harper’s. Coyne uses direct observation and interview to study the behavior of a particular community. In this profile, Coyne examines women who have been incarcerated and separated from their children to see how the mothers and children negotiate their difficult relationships.

As you read, consider the following questions:

1

Y ou can spot the convict-moms here in the visiting room by the way they hold and touch their children and by the single flower that is perched in front of them—a rose, a tulip, a daffodil. Many of these mothers have untied the bow that attaches the flower to its silver-and-red cellophane wrapper and are using one of the many empty soda cans at hand as a vase. They sit proudly before their flower-in-a-Coke-can, amid Hershey bar wrappers, half-eaten Ding Dongs, and empty paper coffee cups. Occasionally, a mother will pick up her present and bring it to her nose when one of the bearers of the single flower—her child—asks if she likes it. And the mother will respond the way that mothers always have and always will respond when presented with a gift on this day. “Oh, I just love it. It’s perfect. I’ll put it in the middle of my Bible.” Or, “I’ll put it on my desk, right next to your school picture.” And always: “It’s the best one here.”

2

But most of what is being smelled today is the children themselves. While the other adults are plunking coins into the vending machines, the mothers take deep whiffs from the backs of their children’s necks, or kiss and smell the backs of their knees, or take off their shoes and tickle their feet and then pull them close to their noses. They hold them tight and take in their own second scent—the scent assuring them that these are still their children and that they still belong to them.

3

The visitors are allowed to bring in pockets full of coins, and today that Mother’s Day flower, and I know from previous visits to my older sister here at the Federal Prison Camp for women in Pekin, Illinois, that there is always an aberrant urge to gather immediately around the vending machines. The sandwiches are stale, the coffee weak, the candy bars the ones we always pass up in a convenience store. But after we hand the children over to their mothers, we gravitate toward those machines. Like milling in the kitchen at a party. We all do it, and nobody knows why. Polite conversation ensues around the microwave while the popcorn is popping and the processed-chicken sandwiches are being heated. We ask one another where we are from, how long a drive we had. An occasional whistle through the teeth, a shake of the head. “My, my, long way from home, huh?” “Staying at the Super 8 right up the road. Not a bad place.” “Stayed at the Econo Lodge last time. Wasn’t a good place at all.” Never asking the questions we really want to ask: “What’s she in for?” “How much time’s she got left?” You never ask in the waiting room of a doctor’s office either. Eventually, all of us—fathers, mothers, sisters, brothers, a few boyfriends, and very few husbands—return to the queen of the day, sitting at a fold-out table loaded with snacks, prepared for five or so hours of attempted normal conversation.

78

4

Most of the inmates are elaborately dressed, many in prison-crafted dresses and sweaters in bright blues and pinks. They wear meticulously applied makeup in corresponding hues, and their hair is replete with loops and curls—hair that only women with the time have the time for. Some of the better seamstresses have crocheted vests and purses to match their outfits. Although the world outside would never accuse these women of making haute-couture fashion statements, the fathers and the sons and the boyfriends and the very few husbands think they look beautiful, and they tell them so repeatedly. And I can imagine the hours spent preparing for this visit—hours of needles and hooks clicking over brightly colored yards of yarn. The hours of discussing, dissecting, and bragging about these visitors—especially the men. Hours spent in the other world behind the door where we’re not allowed, sharing lipsticks and mascaras, and unraveling the occasional hair-tangled hot roller, and the brushing out and lifting and teasing . . . and the giggles that abruptly change into tears without warning—things that define any female-only world. Even, or especially, if that world is a female federal prison camp.

5

While my sister Jennifer is with her son in the playroom, an inmate’s mother comes over to introduce herself to my younger sister, Charity, my brother, John, and me. She tells us about visiting her daughter in a higher-security prison before she was transferred here. The woman looks old and tired, and her shoulders sag under the weight of her recently acquired bitterness.

6

“Pit of fire,” she says, shaking her head. “Like a pit of fire straight from hell. Never seen anything like it. Like something out of an old movie about prisons.” Her voice is getting louder and she looks at each of us with pleading eyes. “My daughter was there. Don’t even get me started on that place. Women die there.”

7

John and Charity and I silently exchange glances.

8

“My daughter would come to the visiting room with a black eye and I’d think, ‘All she did was sit in the car while her boyfriend ran into the house.’ She didn’t even touch the stuff. Never even handled it.”

9

She continues to stare at us, each in turn. “Ten years. That boyfriend talked and he got three years. She didn’t know anything. Had nothing to tell them. They gave her ten years. They called it conspiracy. Conspiracy? Aren’t there real criminals out there?” She asks this with hands outstretched, waiting for an answer that none of us can give her.

10

The woman’s daughter, the conspirator, is chasing her son through the maze of chairs and tables and through the other children. She’s a twenty-four-year-old blonde, whom I’ll call Stephanie, with Dorothy Hamill hair and matching dimples. She looks like any girl you might see in any shopping mall in middle America. She catches her chocolate-brown son and tickles him, and they laugh and trip and fall together onto the floor and laugh harder.

11

Had it not been for that wait in the car, this scene would be taking place at home, in a duplex Stephanie would rent while trying to finish her two-year degree in dental hygiene or respiratory therapy at the local community college. The duplex would be spotless, with a blown-up picture of her and her son over the couch and ceramic unicorns and horses occupying the shelves of the entertainment center. She would make sure that her son went to school every day with stylishly floppy pants, scrubbed teeth, and a good breakfast in his belly. Because of their difference in skin color, there would be occasional tension—caused by the strange looks from strangers, teachers, other mothers, and the bullies on the playground, who would chant after they knocked him down, “Your Momma’s white, your Momma’s white.” But if she were home, their weekends and evenings would be spent together transcending those looks and healing those bruises. Now, however, their time is spent eating visiting-room junk food and his school days are spent fighting the boys in the playground who chant, “Your Momma’s in prison, your Momma’s in prison.”

79

12

He will be ten when his mother is released, the same age my nephew will be when his mother is let out. But Jennifer, my sister, was able to spend the first five years of Toby’s life with him. Stephanie had Ellie after she was incarcerated. They let her hold him for eighteen hours, then sent her back to prison. She has done the “tour,” and her son is a well-traveled six-year-old. He has spent weekends visiting his mother in prisons in Kentucky, Texas, Connecticut (the Pit of Fire), and now at last here, the camp—minimum security, Pekin, Illinois.

“Is my Mommy a bad guy?” It is the question that most seriously disorders his five-year-old need to clearly separate right from wrong.

13

Ellie looks older than his age. But his shoulders do not droop like his grandmother’s. On the contrary, his bitterness lifts them and his chin higher than a child’s should be, and the childlike, wide-eyed curiosity has been replaced by defiance. You can see his emerging hostility as he and his mother play together. She tells him to pick up the toy that he threw, say, or to put the deck of cards away. His face turns sullen, but she persists. She takes him by the shoulders and looks him in the eye, and he uses one of his hands to swat at her. She grabs the hand and he swats with the other. Eventually, she pulls him toward her and smells the top of his head, and she picks up the cards or the toy herself. After all, it is Mother’s Day and she sees him so rarely. But her acquiescence makes him angrier, and he stalks out of the playroom with his shoulders thrown back.

14

Toby, my brother and sister and I assure one another, will not have these resentments. He is better taken care of than most. He is living with relatives in Wisconsin. Good, solid, middle-class, churchgoing relatives. And when he visits us, his aunts and his uncle, we take him out for adventures where we walk down the alley of a city and pretend that we are being chased by the “bad guys.” We buy him fast food, and his uncle, John, keeps him up well past his bedtime enthralling him with stories of the monkeys he met in India. A perfect mix, we try to convince one another. Until we take him to see his mother and on the drive back he asks the question that most confuses him, and no doubt all the other children who spend much of their lives in prison visiting rooms: “Is my Mommy a bad guy?” It is the question that most seriously disorders his five-year-old need to clearly separate right from wrong. And because our own need is perhaps just as great, it is the question that haunts us as well.

15

Now, however, the answer is relatively simple. In a few years, it won’t be. In a few years we will have to explain mandatory minimums, and the war on drugs, and the murky conspiracy laws, and the enormous amount of money and time that federal agents pump into imprisoning low-level drug dealers and those who happen to be their friends and their lovers. In a few years he might have the reasoning skills to ask why so many armed robbers and rapists and child-molesters and, indeed, murderers are punished less severely than his mother. When he is older, we will somehow have to explain to him the difference between federal crimes, which don’t allow for parole, and state crimes, which do. We will have to explain that his mother was taken from him for five years not because she was a drug dealer but because she made four phone calls for someone she loved.

16

But we also know it is vitally important that we explain all this without betraying our bitterness. We understand the danger of abstract anger, of being disillusioned with your country, and, most of all, we do not want him to inherit that legacy. We would still like him to be raised as we were, with the idea that we live in the best country in the world with the best legal system in the world—a legal system carefully designed to be immune to political mood swings and public hysteria; a system that promises to fit the punishment to the crime. We want him to be a good citizen. We want him to have absolute faith that he lives in a fair country, a country that watches over and protects its most vulnerable citizens: its women and children.

17

So for now we simply say, “Toby, your mother isn’t bad, she just did a bad thing. Like when you put rocks in the lawn mower’s gas tank. You weren’t bad then, you just did a bad thing.”

80

18

Once, after being given this weak explanation, he said, “I wish I could have done something really bad, like my Mommy. So I could go to prison too and be with her.”

19

It’s now 3:00. Visiting ends at 3:30. The kids are getting cranky, and the adults are both exhausted and wired from too many hours of conversation, too much coffee and candy. The fathers, mothers, sisters, brothers, and the few boyfriends, and the very few husbands are beginning to show signs of gathering the trash. The mothers of the infants are giving their heads one last whiff before tucking them and their paraphernalia into their respective carrying cases. The visitors meander toward the door, leaving the older children with their mothers for one last word. But the mothers never say what they want to say to their children. They say things like, “Do well in school,” “Be nice to your sister,” “Be good for Aunt Berry, or Grandma.” They don’t say, “I’m sorry I’m sorry I’m sorry. I love you more than anything else in the world and I think about you every minute and I worry about you with a pain that shoots straight to my heart, a pain so great I think I will just burst when I think of you alone, without me. I’m sorry.”

20

We are standing in front of the double glass doors that lead to the outside world. My older sister holds her son, rocking him gently. They are both crying. We give her a look and she puts him down. Charity and I grasp each of his small hands, and the four of us walk through the doors. As we’re walking out, my brother sings one of his banana songs to Toby.

21

“Take me out to the—” and Toby yells out, “Banana store!”

22

“Buy me some —”

23

“Bananas!!”

24

“I don’t care if I ever come back. For it’s root, root, root for the—

25

“Monkey team!”

26

I turn back and see a line of women standing behind the glass wall. Some of them are crying, but many simply stare with dazed eyes. Stephanie is holding both of her son’s hands in hers and speaking urgently to him. He is struggling, and his head is twisting violently back and forth. He frees one of his hands from her grasp, balls up his fist, and punches her in the face. Then he walks with purpose through the glass doors and out the exit. I look back at her. She is still in a crouched position. She stares, unblinking, through those doors. Her hands have left her face and are hanging on either side of her. I look away, but before I do, I see drops of blood drip from her nose, down her chin, and onto the shiny marble floor.

[REFLECT]

Make connections: Unfair punishment.

Coyne reflects near the end of the essay that she wishes her nephew Toby would “have absolute faith that he lives in a fair country” (par. 16). Yet she expects that, like Stephanie’s son, Ellie, Toby will become bitter and angry when he understands that “his mother was taken from him for five years not because she was a drug dealer but because she made four phone calls for someone she loved” (par. 15).

Think about an occasion when you were punished unfairly—for breaking a school rule, perhaps, or neglecting to fulfill an expectation of your parents. Although you willingly admit having done it, you may still feel that the punishment was unjustified. Consider what you did and why you think the punishment was unfair. Your instructor may ask you to post your thoughts on a class discussion board or to discuss them with other students in class. Use these questions to get started:

[ANALYSE]

Use the basic features.

81

SPECIFIC INFORMATION ABOUT THE SUBJECT: USING ANECDOTES

Including anecdotes—brief narratives about one-time events—can be a powerful way to convey detailed information about a subject. Coyne, for example, exposes the effects of separation on mothers and children through powerful anecdotes portraying what happened between Stephanie and her son, Ellie, during their visit.

ANALYZE & WRITE

Write a few paragraphs analyzing Coyne’s use of anecdotes to present information in “The Long Good-bye”:

  1. Reread paragraphs 13 and 26, underlining the words that Coyne uses to present Ellie’s actions and putting brackets around the words Coyne uses to present his mother’s reactions.

  2. What do you learn from these anecdotes about the effects on Stephanie and Ellie of enforced separation?

A CLEAR, LOGICAL ORGANIZATION: NARRATING A DAY IN THE LIFE

Coyne uses narrative as a kind of exoskeleton, a shell within which to hold the information and ideas she wants to present to her readers. The occasion is specific: visiting hours at the Federal Prison on Mother’s Day. The opening paragraphs situate the profile in time and space, and the concluding paragraphs—signaled with the time marker “It’s now 3:00. Visiting ends at 3:30” (par. 19)—recount what happened at the end of the visit. Within this narrative framework, however, Coyne does not follow a strict chronological order. Some events occur at the same time as other events. For example, paragraphs 1 to 3 present actions that occur at the same time: while mothers are getting reacquainted with their children (pars. 1 and 2), and the family members are using the vending machines and chatting with one another (par. 3).

ANALYZE & WRITE

Write a couple of paragraphs analyzing Coyne’s use of narrative organization in “The Long Good-bye”:

  1. Reread the essay, noting in the margin when the events are happening in relation to the events in earlier paragraphs and highlighting any time markers, such as prepositional phrases locating actions in time, clock time, or verb tenses (past, present, future, and so on).

  2. Coyne could have organized her essay topically, by presenting a series of insights and impressions from the many visits she has made instead of focusing on one Mother’s Day. How does her choice help you understand the situation of the women and their families?

THE WRITER’S ROLE: ACTING AS A PARTICIPANT-OBSERVER

82

As a participant-observer, Coyne is in a unique situation. Indeed, she was probably only able to gain access to the prison because her sister was an inmate. Having a personal relationship with the subject she is profiling, then, gives Coyne access. It also gives her familiarity, as this is not her first visit to a prison. In addition, it may also give her special insight into both the personal and cultural aspects of the situation she is profiling. Writing about her own family, however, could lead Coyne to blur the distinction between the genres of observational profile and autobiography. This activity invites you to think about these two genres—how they differ yet may intersect or overlap.

ANALYZE & WRITE

Write a paragraph analyzing the genre mixing in “The Long Good-Bye”:

  1. Reread to find passages in which Coyne refers to her family and reflects on the significance of this Mother’s Day visit. One of the distinguishing features of autobiography is that it attempts to shed light on complex, often ambivalent or conflicted feelings and relationships. How does “The Long Good-Bye” explore the writer’s relationship with her sister and nephew?

  2. Now think about “The Long Good-Bye” as an observational study, a kind of ethnography examining the culture of a community. What do you learn about the community of “convict-moms” (par. 1), as she calls them, and the challenges they face? How does Coyne shift readers’ attention from her family to the broader community?

A PERSPECTIVE ON THE SUBJECT: USING CONTRAST

Unlike arguments supporting positions or justifying evaluations, which tell readers directly what the writer thinks and why, profiles often lead readers to draw a particular conclusion on their own, using strategies like comparing and contrasting. For example, Cable quotes the funeral director drawing a distinction between his job and that of a psychologist to clarify what a mortuary does and does not offer clients:

Contrast cue

“We provide services for the dead, not counseling for the living.” (par. 10)

Notice that he juxtaposes, or places side by side, the different professions.

Contrasts can also be used to foreground particular aspects of the subject. In this example, Cable uses contrast to call attention to the appearance and location of the mortuary, highlighting the difference between his expectations and the reality he finds:

Contrast cue

I thought it would be more like Forest Lawn, serene with lush green lawns and meticulously groomed gardens, a place set apart from the hustle of day-to-day life. Here instead was an odd tan structure set in the middle of a business district. (par. 3)

(See Chapter 13, “Transitions,” for transitions indicating a contrasting or opposing view.)

83

ANALYZE & WRITE

Write a couple of paragraphs analyzing how Coyne uses contrast to convey her perspective in “The Long Good-bye”:

  1. Skim Coyne’s profile, highlighting the cues or transitional words and phrases that indicate contrast. Analyze at least one of the contrasts you find. What is being contrasted? How does the contrast help you understand the writer’s perspective?

  2. Note in the margin which paragraphs focus on Coyne’s sister Jennifer and her son Toby and which focus on Stephanie and her son Ellie. Does Coyne juxtapose the two families or use cues to highlight the contrasts—or does she use both strategies? What differences between the two families does Coyne emphasize? Since contrasts tend to be worth pointing out when there are also important similarities, also consider what similarities Coyne wants readers to think about.

  3. Consider how Coyne uses contrast—between people, between the world of the prison and the world outside, and between what is and what could have been—to help convey her perspective on the plight of women like her sister and children like her nephew.

[RESPOND]

Consider possible topics: Profiling one instance of a recurring event.

Like Coyne, you can also profile an activity occurring over a short period of time, in a relatively small space, involving only a few people. Consider, for example, profiling a team practicing, a musical group rehearsing, or researchers working together in a lab. Try to make more than one observational visit to see the group in action, and arrange to talk with people on every visit, perhaps capturing a few digital images you could use to help you understand the group and possibly also to illustrate it.