Mumia Abu-Jamal\'s Live From Death

Mumia Abu-Jamal's "Live From Death Row"

An Analysis of Language, Tone, and Style

Throughout history, speech and language have influenced peoples' thoughts on some of the most controversial of issues. Many of these elocutionists and writers were put to their deaths shortly after, and sometimes before, their words were revealed. One recalls the convicting message of Martin Luther, delivered under the threat of death, Thomas Moore, delivered shortly before death, and Martin Luther King, delivered before his untimely execution. While many of these speakers' words expressed deep conviction, the syntax alone was not what proved to convict members of the audience -- whether in person or in writing. Instead, a combination of language, tone, and imagery worked together to shape and challenge perceptions and preconceived notions. A more contemporary example of this can be seen in Mumia Abu-Jamal's death row memoir, "Live From Death Row." Jamal, an African-American activist, radio host, and writer, who was sentenced to death for the murder of a police officer in 1981 ("Mumia Abu-Jamal"), has caused Americans to consider their views on the death penalty, much as Troy Davis's much more recently publicized case has invoked further thought on the issue ("Troy Davis -- Finality Over Fairness"). An analysis of the language, tone, and imagery captured in the opening of "Live From Death Row," both shapes Americans' perception of prison life and death row inmates and challenges those same Americans' preconceived notions about the death penalty.

In "Live From Death Row," Jamal's language is punctuated and deliberate. His word choice is meant to not only describe life on death row, but also to entice readers to develop a negative association toward what is being described. Thus, Jamal specifically uses this language to both shape Americans' perception of prison life and death row inmates, as well as challenge their views on the death penalty. First, Jamal uses language to shape American's perception of inmates by portraying them more as innocent victims of a military camp rather than the hardened criminals challenging authority like most would perceive. Through a description of the prisoners as "best behaved and least disruptive of all inmates," Jamal reduces the "massive, quasi-military organization" to a "dog pen.'" This accomplishes two goals. First, it allows the reader to understand how a ruled and regulated institution can be not only invasive, but also humiliating. Second, it shapes their understanding of death row prisoners, portraying them as compliant, quiet, and humiliated. By choosing to pair the words "inmates" and "dog" so closely together, Jamal forces a synthesis of the two pieces of language, further shaping the American view of the death row prisoner, describing him or her to be meek, a caged puppy. In addition, Jamal's use of language challenges preconceived notions of the death penalty. One of the most common arguments in support of the death penalty is deterrence; another is the fact that death row inmates deserve what is coming to them. Jamal's use of the words "human personality," paired with "double-edge razor wire" force another syntactic synthesis. This synthesis reminds the reader that the inmate is a human being treated like an animal. Thus, Jamal's use of language in "Live From Death Row" is powerful. His deliberate choice of words forces synthesis in readers' minds, shaping an image of death row inmates and challenging their perceptions of the death penalty.

In addition to powerful language, Jamal's tone is especially important in drafting his purpose of shaping and challenging perceptions of death row inmates and the death penalty. Obviously an activist against the death penalty, Jamal's most obvious choice of tone would have been angry, impassioned, and a call to action. Instead of choosing this tone, however, Jamal writes his piece with an objective, scholarly tone. He begins his piece with a topic sentence, and then continues to expound upon that sentence throughout the piece in a regimented, academic style. The first sentence of the piece could well be seen as the thesis, with the information after this statement making up the support. In fact, signal phrases such as "as in," "for the most part," and "it is also true," allow the reader to easily grasp that this passage is written in a scholarly tone. In direct opposition to what one would expect, Jamal does not include a call to action or a biased viewpoint, which would color the tone much differently. Instead, Jamal formats his tone to speak directly about the conditions in the prison, allowing readers to understand that his purpose is to inform instead of persuade. By using this scholarly tone, Jamal accomplishes several goals. First, he acknowledges the reader's intelligence and sovereignty, implying that he knows that the reader will make his or her own decisions with the facts, and does not need to be insulted with persuasive language. Second, Jamal appeals to a wider audience than he would have with an impassioned piece advocating an end to the death penalty. By using the scholarly tone, Jamal appeals to academics, those with an opinion on the subject, those who want to learn more about the subject, and those who are just interested in reading good literature. Finally, Jamal's choice in tone includes rather than alienates the reader. This choice of tone allows readers to shape their own perceptions about death row inmates and rely on their own intellect to challenge their view of the death penalty. Because Jamal creates an environment for this shaping and changing to be done internally, it becomes the most convicting kind of shaping and changing, the kind that one brings upon one's self.