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Drawing inspiration from C Wright Mills exhortation to sociologists to locate themselves and their experiences in the ‘trends of their epoch’, I consider how first-hand experience of imprisonment can help criminology account for the growing trend towards the use of imprisonment in many Western democracies. Using interviews with a small group of British criminologists who have experience of imprisonment, I explore the connections between personal stories and collective narratives. Drawing reflexively from my own imprisonment, my subsequent professional trajectory and experiences of prison research, I consider the difficulties and potential of crafting a collective criminological project from disparate and profoundly personal experiences of imprisonment. The chapter combines methodological reflections on the use of autoethnography, autobiography and vignettes as a means to an end: establishing collective narratives from personal stories. I argue that the task of connecting these narratives to the ‘trends of the epoch’ that manifest in expanding prison populations is difficult but developing some momentum in convict criminology.

With the objective of encouraging the use of standard processes for exploring offenders' narratives two complementary procedures are discussed. One is a development of McAdams explorations with highly effective individuals, describing their life as if it were a book. This is a structured interview protocol that has been specifically produced for use with offenders, in which they describe their life as a film (LAAF). A number of studies with male and female incarcerated individuals as well as those without convictions have revealed important differences between people in how they give a free account of their past and future lives. This allows the differentiation of LAAF narratives and reveals the existence of dominant narrative forms in offenders' responses. These relate to those initially elaborated by Frye (1957) for fiction, namely tragedy, comedy, adventure and romance. The second method is the Narrative Role Questionnaire (NRQ) which elicits the inherent role that offenders saw themselves as playing during specific crimes. Completion of the NRQ by various samples reveals important differences between offences in the narratives that provide the agency for their criminal actions. The roles central to these narratives have also been found to embody distinct emotional components that maintain offending. Taken together the NRQ and the LAAF provide a framework for examining offence narratives which enables the main narratives of relevance to criminality to be identified and their implications for theory and practice to be elaborated.

This chapter makes a case for a decolonial, intersectional approach to narrative criminology. It argues that in growing contexts of deepening inequalities, research approaches that humanise people on the margins and that explicitly centre questions of social justice are ever more urgent. This chapter explicates a decolonial, intersectional narrative analysis, working with the data generated in interviews with women sex workers on their experiences of violence outlining how a decolonial, intersectional, narrative analysis may be accomplished to analyse the intersections of power at material, representational and structural levels. The chapter illustrates the importance of an intersectional feminist lens for amplifying the complexity of women sex workers' experiences of gendered violence and for understanding the multiple forms of material, symbolic and institutionalised subordination they experience in increasingly unequal and oppressive contexts. It ends by considering the contributions decolonial, intersectional feminist work can offer narrative criminology, especially the emerging field of narrative victimology.

Giambattista Piranesi's disturbing images of fantasy prisons set out in his Carceri d'Invenzione have had a profound impact on cultural sensibilities. The chapter explores Piranesi's distinctive visual language and situates it in an eighteenth-century penchant for ruins and what they might signify. The macabre fantasy structures bear little relation to actually existing prison buildings, but they do herald a new aesthetic combining both terror and beauty to sublime effect. The chapter examines the relationships between narrative and visual methods by considering that scholarship in art history which has sought to address the relationships between ‘word’ and ‘image’.

Much of it belongs to what was once the ‘new art history’ in the 1970s, and which had become critical of how conventional approaches in the discipline had tended to see art as the visualisation of narrative. For example, Norman Bryson's (1981) study of French painting in the Ancien Régime explored the relationships between ‘word’ and ‘image’ by examining the kind of stories pictures tell, drawing a distinction between the ‘discursive’ aspects of an image (posing questions on visual art's language-like qualities and relationships to written text) and those ‘figural’ features that place the image as primarily a visual experience – it's ‘being-as-image’ – that is entirely independent of language.

The focus on language is symptomatic of the ‘linguistic turn’ that has had such a profound influence on intellectual thought since the 1960s, and this chapter will concentrate on one strand in it. In particular, it will introduce the approach Jacques Derrida developed and defined as ‘deconstruction’, which in some important respects revealed the limitations of language, and seeks to create the effects of ‘decentring’ by highlighting how signification is a complex, often duplicitous, process. The chapter then situates Piranesi's images in an account of landscape, not least since he was a leading exponent of the veduta (a faithful representation of an actual urban or rural view) that had achieved the status of a distinctive and popular genre by the eighteenth century.