From Subsistence to Exchange and Other Essays

In this provocative and timely book, David Kennedy explores what can go awry when we put our humanitarian yearnings into action on a global scale--and what we can do in response.

Rooted in Kennedy's own experience in numerous humanitarian efforts, the book examines campaigns for human rights, refugee protection, economic development, and for humanitarian limits to the conduct of war. It takes us from the jails of Uruguay to the corridors of the United Nations, from the founding of a non-governmental organization dedicated to the liberation of East Timor to work aboard an aircraft carrier in the Persian Gulf.

Kennedy shares the satisfactions of international humanitarian engagement--but also the disappointments of a faith betrayed. With humanitarianism's new power comes knowledge that even the most well-intentioned projects can create as many problems as they solve. Kennedy develops a checklist of the unforeseen consequences, blind spots, and biases of humanitarian work--from focusing too much on rules and too little on results to the ambiguities of waging war in the name of human rights. He explores the mix of altruism, self-doubt, self-congratulation, and simple disorientation that accompany efforts to bring humanitarian commitments to foreign settings.

Writing for all those who wish that "globalization" could be more humane, Kennedy urges us to think and work more pragmatically.

A work of unusual verve, honesty, and insight, this insider's account urges us to embrace the freedom and the responsibility that come with a deeper awareness of the dark sides of humanitarian governance.

Michael Ignatieff draws on his extensive experience as a writer and commentator on world affairs to present a penetrating account of the successes, failures, and prospects of the human rights revolution. Since the United Nations adopted the Universal Declaration of Human Rights in 1948, this revolution has brought the world moral progress and broken the nation-state's monopoly on the conduct of international affairs. But it has also faced challenges. Ignatieff argues that human rights activists have rightly drawn criticism from Asia, the Islamic world, and within the West itself for being overambitious and unwilling to accept limits. It is now time, he writes, for activists to embrace a more modest agenda and to reestablish the balance between the rights of states and the rights of citizens.

Ignatieff begins by examining the politics of human rights, assessing when it is appropriate to use the fact of human rights abuse to justify intervention in other countries. He then explores the ideas that underpin human rights, warning that human rights must not become an idolatry. In the spirit of Isaiah Berlin, he argues that human rights can command universal assent only if they are designed to protect and enhance the capacity of individuals to lead the lives they wish. By embracing this approach and recognizing that state sovereignty is the best guarantee against chaos, Ignatieff concludes, Western nations will have a better chance of extending the real progress of the past fifty years. Throughout, Ignatieff balances idealism with a sure sense of practical reality earned from his years of travel in zones of war and political turmoil around the globe.

Based on the Tanner Lectures that Ignatieff delivered at Princeton University's Center for Human Values in 2000, the book includes two chapters by Ignatieff, an introduction by Amy Gutmann, comments by four leading scholars--K. Anthony Appiah, David A. Hollinger, Thomas W. Laqueur, and Diane F. Orentlicher--and a response by Ignatieff.

How did the industrialized nations of North America and Europe come to be seen as the appropriate models for post-World War II societies in Asia, Africa, and Latin America? How did the postwar discourse on development actually create the so-called Third World? And what will happen when development ideology collapses? To answer these questions, Arturo Escobar shows how development policies became mechanisms of control that were just as pervasive and effective as their colonial counterparts. The development apparatus generated categories powerful enough to shape the thinking even of its occasional critics while poverty and hunger became widespread. "Development" was not even partially "deconstructed" until the 1980s, when new tools for analyzing the representation of social reality were applied to specific "Third World" cases. Here Escobar deploys these new techniques in a provocative analysis of development discourse and practice in general, concluding with a discussion of alternative visions for a postdevelopment era.

Escobar emphasizes the role of economists in development discourse--his case study of Colombia demonstrates that the economization of food resulted in ambitious plans, and more hunger. To depict the production of knowledge and power in other development fields, the author shows how peasants, women, and nature became objects of knowledge and targets of power under the "gaze of experts."

In a substantial new introduction, Escobar reviews debates on globalization and postdevelopment since the book's original publication in 1995 and argues that the concept of postdevelopment needs to be redefined to meet today's significantly new conditions. He then calls for the development of a field of "pluriversal studies," which he illustrates with examples from recent Latin American movements.

Finally available, a high quality book of the original classic edition.

This is a new and freshly published edition of this culturally important work, which is now, at last, again available to you.

Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside:

Nevertheless there being three principal things, without which all praising is but courtship and flattery: First, when that only is praised which is solidly worth praise: next, when greatest likelihoods are brought that such things are truly and really in those persons to whom they are ascribed: the other, when he who praises, by showing that such his actual persuasion is of whom he writes, can demonstrate that he flatters not; the former two of these I have heretofore endeavoured, rescuing the employment from him who went about to impair your merits with a trivial and malignant encomium; the latter as belonging chiefly to mine own acquittal, that whom I so extolled I did not flatter, hath been reserved opportunely to this occasion.

...But if from the industry of a life wholly dedicated to studious labours, and those natural endowments haply not the worst for two and fifty degrees of northern latitude, so much must be derogated, as to count me not equal to any of those who had this privilege, I would obtain to be thought not so inferior, as yourselves are superior to the most of them who received their counsel: and how far you excel them, be assured, Lords and Commons, there can no greater testimony appear, than when your prudent spirit acknowledges and obeys the voice of reason from what quarter soever it be heard speaking; and renders ye as willing to repeal any Act of your own setting forth, as any set forth by your predecessors.

...These are the pretty responsories, these are the dear antiphonies, that so bewitched of late our prelates and their chaplains with the goodly echo they made; and besotted us to the gay imitation of a lordly Imprimatur, one from Lambeth House, another from the west end of Pauls; so apishly Romanizing, that the word of command still was set down in Latin; as if the learned grammatical pen that wrote it would cast no ink without Latin; or perhaps, as they thought, because no vulgar tongue was worthy to express the pure conceit of an Imprimatur, but rather, as I hope, for that our English, the language of men ever famous and foremost in the achievements of liberty, will not easily find servile letters enow to spell such a dictatory presumption English.

Jann S. Wenner, the outlaw journalist’s friend and editor for nearly thirty-five years, has assembled articles that begin with Thompson’s infamous run for sheriff of Aspen on the Freak Party ticket in 1970 and end with his final piece on the Bush-Kerry showdown of 2004. In between is Thompson’s remarkable coverage of the 1972 presidential campaign—a miracle of journalism under pressure—and plenty of attention paid to Richard Nixon, his bête noire; encounters with Muhammad Ali, Bill Clinton, and the Super Bowl; and a lengthy excerpt from his acknowledged masterpiece, Fear and Loathing in Las Vegas.

The Ragged-Trousered Philanthropists is a novel by Robert Tressell first published in 1914 after his death in 1911. An explicitly political work, it is widely regarded as a classic of working-class literature.

Robert Tressell was the nom-de-plume of Robert Noonan, a house painter. Although born in Dublin (and baptised with the surname Croker), Noonan settled in England after living in South Africa at the beginning of the twentieth century. He chose the pen name Tressell in reference to the trestle table, an important part of his kit as a painter and decorator. Based on his own experiences of poverty, exploitation, and his terror that he and his daughter Kathleen — whom he was raising alone — would be consigned to the workhouse if he became ill, Noonan embarked on a detailed and scathing Marxist analysis of the relationship between working-class people and their employers. The "philanthropists" of the title are the workers who, in Noonan 's view, acquiesce in their own exploitation in the interests of their bosses.
The novel is set in the fictional town of Mugsborough, based on the southern English coastal town of Hastings, where Noonan lived, although its geographical location is described in the book and is well away from the actual town of Hastings. The original title page of the book carried the subtitle: "Being the story of twelve months in Hell, told by one of the damned, and written down by Robert Tressell."
He completed The Ragged-Trousered Philanthropists in 1910, but the 1,600-page hand-written manuscript was rejected by the three publishing houses to which it was submitted. The rejections severely depressed Noonan, and Kathleen had to save the manuscript from being burnt. She placed it for safekeeping in a metal box underneath her bed.
After Noonan died of tuberculosis, Kathleen was determined to have her father's writing published and showed it to a friend, the writer Jessie Pope. Pope recommended the book to her own publisher, who bought the rights in April 1914 for £25. It was published that year in much abridged form in the United Kingdom and in an even more abridged form (90,000 words, from the original 250,000), in 1918. It was also published in Canada and the United States in 1914, in the Soviet Union in 1920, and in Germany in 1925. The publisher removed much of the socialist ideology from the first edition; an unabridged edition with Noonan's original ending was not published until 1955.

Clearly frustrated at the refusal of his contemporaries to recognise the inequity and iniquity of society, Tressell's cast of hypocritical Christians, exploitative capitalists and corrupt councillors provide a backdrop for his main target — the workers who think that a better life is "not for the likes of them". Hence the title of the book; Tressell paints the workers as "philanthropists" who throw themselves into back-breaking work for poverty wages in order to generate profit for their masters.
The hero of the book, Frank Owen, is a socialist who believes that the capitalist system is the real source of the poverty he sees all around him. In vain he tries to convince his fellow workers of his world view, but finds that their education has trained them to distrust their own thoughts and to rely on those of their "betters". Much of the book consists of conversations between Owen and the others, or more often of lectures by Owen in the face of their jeering; this was presumably based on Tressell's own experiences.

The book provides a comprehensive picture of social, political, economic and cultural life in Britain at a time when socialism was beginning to gain ground. It was around that time that the Labour Party was founded and began to win seats in the House of Commons.
The book advocates a socialist society in which work is performed to satisfy the needs of all rather than to generate profit for a few. A key chapter is "The Great Money Trick", in which Owen organises a mock-up of capitalism with his workmates, using slices of bread as raw materials and knives as machinery. Owen 'employs' his workmates cutting up the bread to illustrate that the employer — who does not work — generates personal wealth whilst the workers effectively remain no better off than when they began, endlessly swapping coins back and forth for food and wages. This is Tressell's practical way of illustrating the Marxist theory of surplus value, which in the capitalist system is generated by labour.

Adaptations

The BBC made a TV production in the 1960s starring Edward Fox as Barrington and Alan Wade as Bert the barrow boy. They featured on the front cover of the paperback.
A stage adaptation, written by Stephen Lowe and directed by William Gaskill, was first performed by Joint Stock Theatre Company in Plymouth on 14 September 1978. It opened at the Riverside Studios, Hammersmith on 12 October 1978. A two-handed version by Neil Gore debuted at the Hertford Theatre in July 2011 and has since toured including to the 2012 Edinburgh Festival Fringe.
A stage adaptation, written by Archie Hind and directed by David Hayman, was performed in 1984 by the Scottish agitprop theatre company 7:84.
A stage adaptation, by Tom Mclennan, was commissioned by the union, PCS, for "Unions 08". The play is still running and on its third consecutive year of touring. The Tressell society said of the adaptation: "This is the best production of this important work we have ever seen."
An adaptation was made by Above The Title Productions for BBC radio in 2008, produced by Rebecca Pinfield and Johnny Vegas, and directed by Dirk Maggs. Three 60-minute episodes were broadcast as the Classic Serial on Radio 4. Actors included Andrew Lincoln (Owen), Johnny Vegas (Easton), Timothy Spall (Crass), Paul Whitehouse (Old Misery), John Prescott (Policeman), Bill Bailey (Rushton), Kevin Eldon (Slyme), and Tony Haygarth (Philpot). This adaptation was nominated for a Sony Radio Drama Award in 2009.
In May 2009, BBC Radio 4 broadcast a two-part sequel called Mugsborough 1917, which featured many of the cast from the previous year's production. The dramatisation was by Andrew Lynch and features the characters of Robert Tressell's novel The Ragged-Trousered Philanthropists, picking up the story 10 years on.
A stage adaptation, written by Howard Brenton and directed by Christopher Morahan, opened at the Liverpool Everyman on 17 June 2010 and subsequently transferred to co-producer the Minerva Theatre in Chichester as of 15 July 2010.