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Change
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3 min read

Coping in the chaos: Pentonville’s neurodiverse unit is changing prison life

A radical and caring prison experiment has changed both prisoners and wardens. Nick Jones visited London's oldest prison.

Nick is the senior editor of Seen & Unseen.

An arched gateway to a prison sits behind a low raised wall. No windows are visible
First opened in 1842, Pentonville Prison serves a large part of central and east London.
Ben Sutherland via Wikimedia Commons

A London prison has seen a reduction in violence among prisoners and improved staff morale thanks to a new neurodiverse unit.  Pentonville prison’s new unit identifies and treats prisoners with autism, brain-injury, learning difficulties and even dementia. 

Jo Davies, Pentonville’s managing chaplain, helped set up the programme after conducting many regular prisoner reviews with colleagues. She noted that there was an apparent higher incidence of autism among prisoners than the general population. 

Prison is a challenging environment for those with autism. Routines are imposed, vulnerabilities are exploited by others. Frustrations can boil over into violent and self-destructive behaviours. Non-verbal behaviour also makes each interaction with other prisoners and staff a potential flashpoint leading to protesting behaviours or withdrawal.  All against a backdrop of a harsh white noise. Metal doors slam, Conversations and challenges are shouted, all constantly echo through the four open floors of each wing of the prison.  

Other neurodiverse conditions are present in prisons. An ageing prison population even has prisoners suffering from early onset dementia. Some forget the circumstances of their imprisonment.  

Teaming up with prison officers and support staff like psychologists, doctors and teachers, chaplain Davies notes that “now staff make it their business to work out how to work with these prisoners”. The unit has capacity for 45 prisoners in single cells. They share a common area for eating and other activities. Staff spend 10 weeks assessing the prisoners who can then benefit from up to 12 weeks of additional support. 

Ruth Hipwell, who leads the new unit, says: “it’s good to have a place in prison for those people who can’t cope.” Support ranges from little things like teaching a prisoner how to make a cup of tea or providing earplugs to reduce noise, to helping prisoners make better plans for coping and learning – both in prison and outside. 

On the wall of the unit is a timetable of events, illustrated by pictograms. Sessions include how to handle familiar tasks in the unfamiliar environment of prison: how to buy things or use the telephone, getting clean clothes and even how to handle being unwell.  Other sessions include accessing learning and getting a job.  

Robbie*, a prisoner in the unit says:

“It relaxes you. It’s wicked. The difference is the support.” 

The unit started work in October 2022 and the difference it made was spotted fast. It transformed staff, recalls Hipwell. “They have found their purpose. We have a level of multi-agency integration others can’t match.” 

Ian Blakeman, Pentonville prison’s governor, identifies additional benefits. “It frees up staff time and staff export skills to other parts of the prison.” These positive effects also help him keep good staff. A major challenge in London’s competitive labour market.  Other programmes reinforce this change in culture across the prison range from addiction treatment to rebuilding family relationships affected by gang affiliations.  

Pentonville now has the lowest self-harm rates in the country and is the least violent prison of its type in the UK. 

With prisons a low political priority, it’s even more remarkable to learn that Pentonville’s neurodiverse unit required no additional budget. Its win-win results are a flicker of hope in a bleak landscape. Times columnist Matthew Parris recently wrote: 

“Every generation looks back and spots an outrage. Today, when we think of slavery, child labour and lunatic asylums, we wonder how our ancestors could have been so cruel. What will horrify our own successors is our disgraceful prison system.” 

In response to Parris’s column, Jonathan Aitken, a former prisoner and now a chaplain at Pentonville who works with the neurodiverse unit, wrote to the Times.   

“The real disgrace lies not inside our prisons but in the failure of both public and private rehabilitation efforts to help prisoners into jobs, housing and law-abiding lives after their release. The good work done by prison officers, managers and governors is underreported… We are on a roll of improvements… But such advances are like clapping with one hand if they are not met by comparable efforts to rebuild the lives of prisoners after they walk out of the gate. Correcting the failures in this area should be a high priority for our politicians and for our society.” 

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Culture
Mental Health
Music
1 min read

Why we loved Lewis Capaldi’s Glastonbury comeback

We might impress people with our strength, but we connect through our weaknesses

Jessica is a Formation Tutor at St Mellitus College, and completing a PhD in Pauline anthropology, 

Lewis Capaldi sings with eyes closes, holding a mic and its stand
Capaldi hits the high notes.
BBC.

Friday at Glastonbury 2025 saw something more than a musical performance: it saw a homecoming. Lewis Capaldi returned to the stage after a two-year hiatus, and the response was nothing short of extraordinary. His performance in 2023 was emotional as people saw a man struggling with his mental and physical health, which ultimately led him to step back for two whole years. As he returned to the stage, people cheered, and people cried. He cried. I cried. It was not just the return of a singer, but the return of a story we all long for: a redemption arc. A story of coming undone and coming back. 

Capaldi had stepped away from the spotlight for those two years to care for his mental health. When he appeared, he was welcomed with warmth, kindness and compassion. The fields of Glastonbury turned into a sanctuary for a few sacred minutes, as thousands honoured someone not because he had pushed through, but because he had paused. 

I found myself deeply moved. I couldn’t look away. Why was this moment, this man, this vulnerability, so captivating? 

It is because, as humans, we are wired for stories of authenticity. We love a comeback story. The narrative of someone who ventures into the wilderness and then returns speaks to something in all of us. Who is willing to admit their own weakness. To return to the stage in this moment reminded us that the comeback was greater than the setback. This was a moment worth celebrating.  

As part of his return set, he debuted his new song Survive, in which he sings,  

“But when hope is lost and I come undone, I swear to God, I’ll survive.”  

There’s power in that lyric, not in thoughtless defiance, but in the quiet, resolute declaration that survival to keep going is an act of courage. 

St Paul, in his second letter to Christians in the city of Corinth, reminds us of a paradox at the heart of the Christian faith:  

“I will boast all the more gladly about my weaknesses, so that Christ’s power may rest on me.”  

Strength and weakness are not opposing forces; instead, they are intertwined. The bridge connecting them is vulnerability. Strength in weakness provides us with a portrait of actual vulnerability, as sharing our weakness requires great strength. It has been said by many that although we might impress people with our strength, we connect with people through our weaknesses. This vulnerability provides the connection that we are built for as humans. 

In a culture that celebrates performance, progression, and perfection, vulnerability often feels like a risk. But what if it’s our greatest strength? What if this, the trembling voice, the open heart, the tear-streaked face, is what connection is made of? 

Capaldi’s return showed us a part of what it means to be human: to break, to heal, to return. And to be welcomed back. It was a gentle resistance to cancel culture, which tends to hold people captive in their weakest moment, freezing them in failure. But the crowd at Glastonbury chose a different way. They chose empathy and kindness when confronted with another's humanity. This made space for a new story to be told.  

The Christian story has always been one of ashes to beauty. Of life out of death. Of hope in despair. Whether it’s the prodigal son running home, or Peter by the firelight, forgiven and restored, there is room in the story of grace for those who step away, and celebration when they return. 

And so, Capaldi’s return was more than a performance: it was a parable. A living story of what happens when we choose to make space for one another’s pain and honour the quiet courage it takes to come back. It reminded us that sharing our weaknesses is not a weakness at all, but an act of strength, even defiance, in a culture that so often pulls us toward isolation and self-protection. Why was it so captivating? Because vulnerability is powerful. It draws us in, disarms us, and reminds us of our shared humanity. We long to be known, and we ache to belong. In a field of thousands, vulnerability is what ultimately unites and connects us. 

 

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