Clayton Lockett
Anti-death penalty rally, Robert J. Daveant / Shutterstock.com
In 2009, I accompanied my friend Steve Henley on his journey to execution in Tennessee. As his spiritual advisor, I was able to be with him for a few hours before he was removed from his deathwatch cell and strapped to a gurney. I was there with his family as the blinds were raised and as he tried to make them smile. I was there when he spoke his last words, when the poison entered his veins, when he began to turn blue, and when he finally was declared dead. This image of my friend, who I visited for 10 of his 23 years on death row, will stay with me forever. Steve’s execution lasted about 12 minutes.
Clayton Lockett’s execution lasted 43 minutes. All of those present at his execution — correctional staff, attorneys, media, the victim’s family, clergy, and others — will now live with the image of what happened in Oklahoma on Tuesday. The horror they witnessed will be with them forever, regardless of their opinion of Clayton Lockett. Though Oklahoma officials had all sorts of reasons to suspect that there might be problems with this execution — using an untested mixture of lethal injection drugs whose source was kept secret — they proceeded for the sake of expediency, leading to the inevitable cruelty that followed.
By all accounts, Clayton Lockett did a terrible thing. He shot and killed 19-year-old Stephanie Nieman in 1999, taking away her life and all its possibilities. Some might even say that Clayton Lockett got what he deserved for his crime. But was what the state of Oklahoma did on Monday really about Clayton Lockett?
Dead Man Walking play performed in 2002, Photo by creighton_ccas / Flickr.com
The botched execution of Clayton Lockett in Oklahoma on Tuesday has refocused the nation on the inherent contradictions in the death penalty. But here in Wisconsin last week, an opera helped focus the attention of one community on the many human issues woven into the debate over crime and punishment.
In real life at the Oklahoma State Penitentiary in McAlester, a mix of lethal drugs injected into the body of Lockett caused seizures rather than immediate death. On stage in the opera version of Dead Man Walking, the drug machine clicks, hums, and whirrs with efficiency, leaving the fictional character Joe DerRocher dead on the stage.
Dead Man Walking — the book by Sr. Helen Prejean about her work with prisoners on death row and the families of their victims — became an award-winning movie in the mid-1990s starring Susan Sarandon and Sean Penn. It was recreated as an opera in 2000 and since then has played in 40 cities.
What happened in Madison, Wis., last week was more than the presentation of an opera. It was the culmination of six weeks of some 20 events engaging about 1,500 community members in discussion of many facets of the criminal justice system. The two performances of the opera itself drew about 3,000 people. It was a classic example of art engaging life.
Capital punishment itself is not so much of an issue in Wisconsin – the state has banned it since 1853. But Wisconsin does have the highest rate of black male incarceration in the nation. Its prison system tilts far more toward punishment than toward treatment and rehabilitation. It imprisons twice as many people as its neighboring and demographically similar state of Minnesota.