Development As Freedom by Amartya Sen

Perhaps not many people regularly read non-fiction, especially when it might appear to emanate from academic sources. Thus a title such as Development As Freedom by Amartya Sen, if encountered on a book browse, might suffer immediate and regrettable rejection. Subjects such as international politics, economic change and human development considered via the writings of a Nobel Prize winning economist might not suggest bedtime reading. But read again! And preferably read many times, for this book surely places the word ‘human’ at the heart of the development process and, because of that, is not only readable, it is an absolute joy.

Sen’s argument is simply encapsulated in the book’s title. As human beings change and as the societies in which they live transform, development can be measured, certainly perceived, and possibly achieved via greater life expectancy, access to education, improved gender and social equality, increasing population, technological progress, access to health care and a host of other life enhancing and enriching phenomena that all of us now seem to take for granted, bur, perhaps paradoxically, few societies actually achieve.

But for Sen, and this is the truly optimistic core of the book’s message, is that all of these identifiable and measurable phenomena are mere effects of a more fundamental cause. Development, for Amartya Sen, is about increasing human freedom. The concept includes freedom of choice, freedom to participate, freedom to express and in fact any freedom that might be exercised by an individual or community in the context of enhancing, not undermining, the wider social groups or societies in which the people live. There is undeniably something wider called society and it is thus society’s role to evaluate policy and practice to ensure that social and economic change enhance the sum of freedoms that people can claim.

But let it also be clear that this is no neo-liberal, individuality-is-God, markets-know-best diatribe. Development As Freedom is a concise, sometimes intense, but always sympathetic look at various aspects of economic and social change and the generality of development policy that can stimulate it. The point is that the human race and the societies in which it lives make progress for the common good when participation is widened, when inclusion rather than exclusion is the goal, when the whole range of human potential, rather than that of an elite in restricted roles, is allowed to blossom. And it is this overall message that makes the book such a positive and enriching experience.

Early on in the book, Sen sums up his approach by saying that “Poverty can be sensibly defined as capability deprivation…” and thus that the alleviation of poverty, in all its manifestations, allows human beings to develop whatever capabilities they might have, capabilities that would otherwise never be realised. Furthermore, greater social equality is more likely to provide opportunity for the development of this human potential than any other route.

In making his case, Amartya Sen deals the occasional body blow to a few nostrums. Reassessing Adam Smith from the original, Sen identifies that the original intellectual arguments on markets were at least partly aimed at countering the power and influence entrenched interests of the time. Now those would have certainly arisen out of the previous century’s tendency to grant and support monopolies. Sen thus casts Smith as least partly as a moderniser, who wanted to transform economic structures in order to transform society as he knew it. He also finds in Smith an admission that opportunity might have more to do with birthright than ability, or even availability of educational facilities. The champion of the market principle, as we now know him, is here not seen to claim that markets in themselves will always provide the most effective or efficient basis for economic interaction.

Sen also illustrates how so-called free markets might not work to the advantage of the majority. He cites an example of a Pareto-efficient system in which 1000 people each give up one dollar, without caring too much about the transaction. One person pockets the thousand dollars as profit and will clearly fight hard to retain such privileged status. When opinion about how the society transacts, it is likely that the individual who profits will speak loudly to maintain the status quo and, given the status of economic success, the person will also have access to the modes of expression needed. The thousand do, however, have the right to vote and so democracy is at the core of any approach to enhance freedom, but to be effective it has to function. Sen reminds us that there has never in human history been a famine in any democratic society with a free press.

Since development, in Sen’s vision, is about developing the capabilities of all people, it is clear that human development as a goal is first and foremost an ally of the poor, rather than the rich and powerful. Modernisation theory is thus merely a starting point for the process as Sen envisages it. But beyond this beginning it must continue until participation is increased and real democracy is achieved. Policy and practice should be continually evaluated to ensure the proper spread and effectiveness of their goals. Development As Freedom is much more than a description of what we are and from where we have come. It is nothing less than a far-sighted and clear prescription for political practice and provides a yardstick we might use to evaluate it.

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The Steps Of The Sun by Caroline Harvey, aka Joanna Trollope

I approached The Steps Of The Sun not knowing what to expect. Its author was listed as Joanna Trollope writing as Caroline Harvey. I had previously read nothing in either name. But it struck me that if you wanted a nom de plume, then Non de Plume was not a good choice. I persevered, however, largely because I have also never read a novel set in the Boer War. The Steps Of The Sun presents life amongst a middle-class set whose lives are turned upside down by the conflict. Matthew Paget is a college lad, son of a churchman, and he is seeking something exciting out of life. His passions sometimes take him that step too far. He enlists to fight in South Africa without his family’s backing or even knowledge. Will Marriott, his cousin, is a military type and also thinks that way to boot. He performs his duty when required and is proud to represent his country in battle. Hendon Bashford is the obvious cad. He’s half Boer but considers himself true-blood English. His contribution to the conflict will always be against his own people, which ever side he joins. 

There are women in The Steps Of The Sun. Adelaide is the most interesting. She flirts with pacifism, even meets journalists. But then she assists the war in her own way. Matthew’s sister, Frances, tends to the prissy. And then there’s a Boer girl who is twice excused her fate. First her home is not burned down – at least today – and second, apparently unlike all other Boer women, as we are told, she is not pregnant. There are some interesting aspects to the book. A description of the war’s concentration camps is welcome, as is Adelaide’s conflict of interest. But overall what promised to be an intriguing read tended to gloss over the military, fragment the history and barely visit the country. The Steps Of The Sun was still worth reading, but its high points were quite well buried.

The Inheritance Of Loss by Kiran Desai

The Inheritance Of Loss by Kiran Desai is a magnificent, impressive novel that ultimately is disappointing. As a process, the book is almost stunningly good. As a product, it falls short. The book’s language, scenarios and juxtapositions are funny, threatening, vivid and tender all at the same time. The comic element, always riven through with irony, is most often to the fore, as characters grapple with a world much bigger than themselves, a world that only ever seems to admit them partially, and rarely on their own terms. The one criticism I have of the style is Kiran Desai’s propensity to offer up lists as comic devices, a technique that works a couple of times, but later has the reader scanning forward to the next substance.

An aged judge lives in the highlands of north India. As political and ethnic tensions stretch through the mountain air, he reconsiders his origins, his education, his career, his opportunities, both taken and missed. He has a granddaughter, orphaned in most unlikely circumstances, as her parents trained for a Russian space programme. But what circumstances that create orphans are ever likely? She is growing up, accompanied by most of what that entails.

The cook in the rickety mansion is the person that really runs the household, his rule-of-thumb methods predating the appliances he has to use and the services he has to provide. He manages, imaginatively. He has a son, Biju, who eventually forms the centrepiece of the book’s complex, somewhat rambling story. Biju has emigrated to New York, where he has made it big, at least as far as the folks back home think. On site, he slaves away in the dungeon kitchens of fast food outlets, restaurants, both up and downmarket, and a few plain eateries.

Kiran Desai provides the reader with a superb image of globalisation when she describes the customer-receiving areas of an upmarket restaurant flying an advertised, authentic French flag, while in the kitchen the flags are Indian, Honduran, anything but French. Now there is true authenticity for you, offered up in its manufactured, globalised form. Biju, of course, dreams of home, but the comparatively large number of US dollars he earns – at least as far as the folks back home see it – barely covers essentials in someone else’s reality.

The narrative of The Inheritance Of Loss flits between New York, northern India and elsewhere, and also between the here and now, yesteryear and the judge’s childhood. And perhaps it flits too much, because the scenes are often cut short before the reader feels they have made a point. And ultimately this reader found that the book lacked focus. While the process was enjoyable, the product was not worth the journey.

The Inheritance Of Loss seemed to promise to take us somewhere in this globalised confusion of identity, motive, routine, unrealised dreams and intangible desires, but eventually it seemed to have nothing to add to a sense of “well that’s how it is”, which is precisely where we started. There was an opportunity for more, but it was ducked. The book was thus a thoroughly enjoyable read that threatened to achieve greatness through statement, but unfortunately missed the mark, and by a long way.

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The Hired Hand by Melvyn Bragg

The Hired Hand by Melvyn Bragg is the story of John Tallentire, his wife, Emily, and their families. The novel is set in Cumbria in the north-west of England, starting in the 1890s and following the characters’ fortunes until the 1920s.

John Tallentire is the hired man. He is a farm labourer who does as he is asked but is rewarded with mere subsistence. He accepts his lot. But then, in an attempt to improve his life, he becomes a coal miner in pits where the workings stretch out under the sea. The First World War comes, and goes, but not without wreaking its own dose of havoc on the family. John lives through attempts at trade union formation. And there is an accident in the coal mine that traps several miners.

And so John’s life unfolds, working its way towards a goal one feels that he never chose. He is a hired man, a seller of labour in a market that, by definition, undervalues what he does. It is his lot to respond to the demands and commands of others. His own preferences, his own motivation must always be kept firmly of secondary importance because, as a hired man, he has no resources to apply to his own ends until he has satisfied the demands of others. And, inevitably, those demands are as great as his willingness to fulfil them. Consequently, the rewards of his labours are never enough to raise his life above satisfying the needs of today.

Emily, his wife, lives a dutiful life alongside him. They marry with their lives ahead of them and Emily makes do, happily, with her lot. The children come – and go, since not all of them survive. Neither do the surviving children seem to have much of a chance of their own to break out of the dependency that is their life. The subtlety of The Hired Man, however, is that this continued dependency is cast in a society that is subject to constant change. It is not tradition, or shackles of rigid social systems that perpetuate poverty. It is the social relationships between different groups that endure, even when social, political and economic structures change.

And it is a life that finally exhausts Emily, leaves her but a ghost of her former self. It has been said that working class life in England was nasty, brutish and short. In the Tallentire’s household, there is much dignity, only occasional nastiness and little of the brute. But brevity is always a threat.

Attempts to form unions, attempts thus at creating some stability and security, are described with great effect. It would perhaps seem self-evident that poor people with little security would embrace those who promised improvement. But Melvyn Bragg’s portrayal of the process is subtle, and identifies how the workers’ very insecurity can be manipulated to convince them to act against their own interests.

There was one aspect of the book that was less than successful. This was the author’s attempt to write dialogue in local dialect. Spellings are changed to suggest different intonation and words are invented to capture local usage. Too often, however, this got in the way of meaning, thus detracting from the bigger picture. How to deal with accented English always presents a writer with a dilemma. Conveying local flavour is the goal, but this cannot be achieved if the readability of the text is affected. It is, however, a minor point.

The Hired Man, overall, is a novel about change. The workers’ role within that change is insecure throughout. It is not change, itself, that brings about the insecurity, which is the way things are often portrayed. At one point, when the characters consider on whose behalf they are fighting a war, they see clearly that they themselves can never benefit. But neither can they conceive of not fighting. They are hired to do as they are told.

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Life At The Top by John Braine

After recently re-reading John Braine’s Room at the Top, I went On Chesil Beach, courtesy of Ian McEwan. Without doubt the latter is a masterpiece, whereas the former seems to be a little too reliant on its contemporary setting, its social mores, its finely tuned appreciation of social class to be considered more than “of its time”. Concatenating the two books, however, has made me think a little more about the underpinning thesis of Ian McEwan’s book, that the early 1960s remained an age when sexuality was not discussed, dealt with or even experienced in the more open, liberal manner of just a decade later. In the context of Ian McEwan’s setting and for his characters, this was undoubtedly the case. Memories of John Braine’s 1950s, however, remind me that there might have been room for a different reading.

And so I approached a re-discovery of Braine’s Life At The Top with more than just an interest in the narrative. Of course the book is a sequel, an attempt to recreate the success that had eluded its author in the intervening years. But it is based in the early 1960s, precisely the time when Ian McEwan’s fumbling lovers marry.

Life At The Top is ten years on from its germ. Joe Lampton and Susan are married and have two children. Joe is also firmly ensconced in his father-in-law’s firm, has made a moderate success of his career and, certainly relative to others around Warley, has plenty of money. But as those for whom success seems to be a given, it is necessary to be reminded that, “It’s one thing to get there, and quite another thing to stay there”. And so it is with Joe Lampton. He becomes a councilor – a Tory one at that – and all seems to be made. But then, but then… he’s still our Joe. He still likes his pint, though now it’s more likely to be a scotch, and perhaps Susan is still as naïve as she was a decade before – naïve, that is, until she decides what she wants.

So, obviously, in Life At The Top Joe and Susan’s life together turns sour, even a little bitter. But John Braine’s plot and style always keep the process above soap opera, where character only exists to fuel plot. In some ways, the pair of novels, Room and Life At The Top, is a loose allegory of the experience of the author, himself. In Room he’s an upstart successfully staking his claim, but at a cost in terms of pigeon-holing and confinement to a genre. In Life he’s a known success and is clawing on to its retention.

But after finishing the book two points stand out. The first is a reminder of the apparent sexual liberty enjoyed by its characters. Not only Joe, but also Susan and eventually Norah, not to mention the ailing Mark, are apparently free-loaders. Only Mark’s wife seems to possess the frigidity, perhaps aridity, that Ian McEwan seems to associate with the era. I can remember when Life At The Top was a much watched film. It was seen as racy, even a bit risqué, but not because of what it portrayed, only that it was portrayed. It wasn’t the content that shocked; it was the fact that the content was made public.

On the other hand, if John Braine’s mission had been purely to shock, then the ultimate morality of the outcome would be incongruous at best. Life At The Top is the kind of novel where what happens is crucial, so to reveal the finishing point would detract from the experience of reading the book. Suffice it to say that, in its own way, Life At The Top becomes an affirmation of a given set of values, even if those who want to live by them do not always live up to them.

So I return again to On Chesil Beach and conclude that there may be a greater element of social class – or even stereotype – involved in Ian McEwan’s reading of the mores of that age. A shortcoming it might be, but it detracts in no way whatsoever from the quality of the book. The imagined rules applied to those described, despite the fact that, as John Braine’s Life At The Top reminds us, they might not actually have been rules and certainly didn’t apply to everyone, especially the imagined.

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Life at the Top

A reflection on Saville by David Storey

Saville won the Booker Prize in 1976. In such a vast novel it is inevitable that the pace will occasionally quicken and slacken, but a book like this can be read over weeks, almost dipped into as the passing phases of Colin’s life unfold. David Story was born in Wakefield, and so was I. It could be argued that his most famous and perhaps still most successful work is “This Sporting Life”, a portrait of a Rugby League player who achieves local fame and then notoriety as his life and career blossom and then fall apart. It was filmed in the early 1960s, with Richard Harris playing the starring role. Along with about 28000 others, I was in Wakefield Trinity’s Belle Vue ground soon after midday to make sure that I got a standing place by the railings next to the pitch to see Trinity play Wigan in a cup-tie. I was only ten and needed to be early because, had I been further back amongst the crowd, I would have seen nothing. Wakefield beat Wigan 5-4, with Fred Smith scoring the only try of the game at my end. They went on to win at Wembley that year, beating Huddersfield in the game where Neil Fox used a drop goal strategy not seen before or since.

But before that cup-tie against Wigan, the packed Trinity ground became a film set. We were all unpaid extras as Richard Harris and members of the Trinity second team filmed some actions Sequences for “This Sporting Life”. I show no disrespect for Richard Harris by recalling that the sequence required a whole string of takes, necessitated by the fact that the star kept dropping the ball! I have seen the film several times, but I have not yet managed to spot my short-trousered legs behind the sticks at the Belle Vue end. They are there, somewhere.

I digress at length from my intended review because Colin, the central character of Saville, could easily have been me, or perhaps my older brother. Like Colin we were brought up in a small Yorkshire mining village. Also like Colin we went to a grammar school and experienced similar tensions and contradictions as a result of social class differences. And again like Colin we both became, as a result of that education, something previous generations of our permanent-feeling community had never aspired to, perhaps never knew existed. Unlike Colin, we did not aspire to become writers, except of course for me, who eventually tried to become one! It was the education that changed everything and this aspect of Saville is beautifully portrayed, right down to the visit to the old Kingswell’s shop in Wakefield to buy the ludicrously expensive school uniform, a source of pride for the miner’s family, but also a pointer indicating how lives will inevitably diverge.

Saville also deals with how social mores were changing in the new second half of the twentieth century. Colin’s parents simply could not relate to how his life was developing, perhaps finding hardest to stomach the individuality that he developed and was determined to express. It was a quality you could not pursue when, as poor people, your lives were always inter-dependent. The communal nature of their poverty made this a desire they could not comprehend and occasionally his pursuit of his own ends was seen by them – perhaps quite rightly – as errant selfishness. Of course, we now live in an age where the individual is the norm, the indivisible unit of society and, perhaps, where an idea of community is mere nostalgia.

Above all else David Storey’s Saville evokes a time and a place. It also evokes a language, a dialect that preserves the use of thee, thy, thou and thine and, although occasionally laboured, the book’s specialised vocabulary and syntax create the sound of a Yorkshire twang.

Saville has no vast themes, no overtly historical settings against which the characters enact their lives. Rather it concentrates on a social and economic setting which was quite peculiar to these mining communities in Yorkshire. But this is the book’s real strength. What we have is a social document, as powerful and yet as specific as some of its nineteenth century equivalents. Now, after the closure of the pits, though the villages remain, these communities have disappeared to be replaced by settings that perhaps offer less chance of social mobility or self-respect than in Saville’s time. This provides and irony that my own novel set in these same places might bring into focus. But in Saville’s time, the idea that the pits would close never entered anyone’s head, a fact which makes Colin’s transformation through the book remarkable, credible and yet ultimately sad, since we now see it as effectively driven by necessity, not choice.