Once I began to see the schools, of course, I could not unsee them. I realized how much of life—and by life in this case I mean real estate—was organized around them. Wealthy homeowners had the resources and the motivation to put time and money into their neighborhood schools; good neighborhood schools in turn attracted other wealthy homeowners. In the 1990s, a Federal Reserve economist named Sandra Black did a study on how much extra parents in Massachusetts were willing to pay for homes in superior school districts. (She studied the home prices in neighborhoods that were directly adjacent to district lines, so otherwise basically the same.) Black found that a 5 percent increase in test scores added 2.5 percent to the price of a home. In New York, where adjacent school zones might have radically different test scores, those 2.5 percent increases could add up quickly.

Now, when a politician or a public intellectual or a newspaper goes on a Rumspringa in the rightmost reaches of the political spectrum, or if the fine citizens of some small town decide to set fire to a house, there is less of a script by which they would be welcomed back into respectability. Certain ethnic Germans used to take it as their seigneurial right to shower cruelty on the vulnerable and return to the mainstream after a cooling-off period to be listened to and shaken hands with. They are beginning to feel deprived of that right.

The women in the novel are subjected to sexual violence so regularly that it is treated as if it is just another part of their punitive program. For many of them, this sexual violence is not unique to their time in jail. Kushner wisely demonstrates throughout the novel that patriarchy and its parallel oppressive structures are not phenomena specific to incarceration; they groom these characters from birth to feel comfortable in the rigidly authoritative structures of prisons. “I had been a waitress at IHOP right after I graduated high school,” Romy says. “I was waitress 43, and the cooks would call, Forty-three! Your order is up! Which, as I only saw later, had been preparing me for here.” With wrenching flashbacks to Romy’s youth that bare the bruises of innocence forcibly taken, Kushner shows us Romy navigating and bucking authority throughout her life, in her predatory friendships, in her work as a stripper, and in her experiences with men. By the time she ends up in prison, like the rest of the women around her, she hardly has the capacity to question or resist authority.

As a theorist of inequality, King is our contemporary. But he was also a philosopher of equality, and thus of emancipation. At the core of his thought one finds the political subjectivity that the civil rights struggle was helping to engender. Important as his final year was, the radical outlines of this project are visible from 1955 to 1963, as King was drawn deeper into political activism and answered the call to engage in a political sequence that exceeded the boundaries of the existing situation.

The problem the union faces is that, on its own, it cannot create the type of system it wants. To ensure that a service like education be available at high quality to every family in the population, general standards must be established and monitored across the community. The district and its schools are the only tool suited to this task. Choice is invidious when the underlying options are so poorly distributed. Smaller classes, with student access to serviceable institutions such as libraries, nursing, and counseling, will require action from municipal and state authorities, from the Board of Education, through the City of Los Angeles and the Los Angeles County Office of Education, to the Governors office and the State Assembly. Fighting the effects of the trends the district has set in motion won’t suffice; the teachers must reverse those trends. Can they do it alone?

In an essay from 1988 called “The Joy of Marginality” Piper made explicit the scope and purpose of her own political and socially-critical art. “My work is an act of communication that politically catalyzes its viewers into reflecting on their own deep impulses and responses to racism and xenophobia, relative to a target or stance that I depict,” she wrote. To achieve this goal (or any goal of effecting psychological change through art), Piper thought it was essential to engage the viewer in what she called the “indexical present” of the work of art: a here-and-now created in the transaction between artist and audience. (Conversely, she expressed skepticism about the efficacy of “global political art” that attempts to educate or persuade the viewer concerning a situation represented as being external to the viewer’s own experience). In another text, “Performance: The Problematic Solution,” Piper championed the didactic and the confrontational as central aspects, or modes, of this form of artist–viewer engagement.