Explainer
Culture
Freedom
Liberalism
6 min read

On liberty’s limits: why Mill was wrong about freedom

This month, it’s 150 years since philosopher JS Mill died. His definition of freedom remains hugely influential. But is it still the right one for healthy relationships and contentment amid the isolation of modern life?

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A copy of the Statue of Liberty, holding a stick of bread, stands outside a shop window displaying an 'Open 24 Hours' signs.
Photo by KC Welch on Unsplash.

You can tell what a society values by what it goes to war over. In the 17th century we fought our wars over religion. In the 19th it was empire. In the 20th and 21st, we fought our wars over freedom, either defending our own or trying to export our version of it to other parts of the world. We tend, of course, to assume we know what freedom is: the liberty to do what we like, as long as don’t harm other people. But we rarely know how time-conditioned and recent such a view of freedom is.  

John Stuart Mill, child prodigy, colonial administrator, Member of Parliament and philosopher, who died 150 years ago this year, is one of the primary architects of our contemporary ideas of freedom. In his own words, his book On Liberty, published in 1859, was an exploration of the ‘nature and limits of the power that can legitimately be exercised by society over the individual’. Mill famously argues that the only valid reason for interfering with another person’s liberty of action is to protect them from physical harm. It is never justifiable to interfere with another person’s freedom to ensure their happiness, wisdom or well-being, because that is to determine what that person’s well-being is. Freedom is defined as liberty of conscience, thought, feeling and opinion, as ‘liberty of tastes and pursuits … doing as we like … without impediment from our fellow creatures, so long as what we do does not harm them’. 

For Mill... individual liberty is vital, not just for the sake of the individual, but for the sake of human progress.

Mill is one of the great champions of nonconformity in thought and action. Even if just one person held a particular opinion while everyone else in the world held the opposite, there would be no justification in silencing that one voice. For Mill, one of the main ingredients of social progress is freedom from the traditions and customs imposed by others, both the past constraints of tradition, and the present ones of custom, which restrict the cultivation of individuality, which in turn ‘is one of the leading essentials of well-being’. Individual liberty is vital, not just for the sake of the individual, but for the sake of human progress. Without it there will be no originality or genius, no new discoveries or innovation. Civilisation cannot advance without individual freedom which encourages spontaneous expression, the development of new thoughts and ideas unconstrained by the patterns of the past.  

It is a powerful argument. On Liberty is full of the fear of Victorian conformity – the individualist’s reaction to a stifling society with a high degree of social control. It is very much a book of its time, assuming the cultural superiority of the modern age. It also breathes an elitism that looks down on the mediocrity of what it calls ‘average men’.  

But more than that, there is, I think, a deeper flaw in this way of thinking about freedom. If freedom is essentially my liberty to say or do what I like, as long as I don’t tread on the toes of my neighbour, then what does that do to my relationship with my neighbour? He or she becomes at best a limitation, or at worst a threat to my freedom. There may be all kinds of things I want to do – play music loud on a summer’s night, or drive my car at 100 mph on a quiet suburban road – but I can’t because I might disturb my neighbour’s peace or risk crashing into an oncoming bus. Or even worse, my neighbour might want to play her music too loud for me, or drive her car too fast in my direction, thus invading my personal space. This approach keeps the peace between us, but at the cost of making us see each other either as irritating limitations to our desires which of course define our self-chosen goals in life, or threats to our own precious autonomy. 

The German sociologist Hartmut Rosa argues that  

“the ethical imperative that guides modern subjects is not a particular or substantive definition of the good life, but the aspiration to acquire the resources necessary or helpful for leading one.”  

In other words, in the individualised world imagined by Mill, we are all left to dream our own dreams, choose our own ambitions, and are all caught up in the fight to get hold of the money, rights, friends, looks, health, and knowledge that will enable us to get to our self-chosen destination. It therefore makes us competitors with each other, not only seeing each other as rivals in this race for resources, but also as potential threats who might stand in the way of our freedom to pursue our dreams.  

There is however another, older view of freedom, rooted more in character and virtue than in individualised personal goals. This version, found in classical literature, sees liberty not as freedom from the limitations and social expectations that stop us following our self-chosen desires, but freedom from the passions. The Greeks viewed the soul as like a ship which should sail serenely towards the harbour of such virtues as prudence, courage and temperance. It was guided on this journey by paideia, or education in virtue, yet was at the same time buffeted by the winds of irrational and destructive impulses such as envy, anger or lust that threaten to blow it off course. For them, our passionate inner desires are not the sacrosanct moral guide to our true selves but are a distraction from the true path of virtue.  

True liberty is freedom from anything that would stop us becoming the person we were created to be.

This version was developed further by Christian thinkers such as St Paul, St Augustine and Thomas Aquinas. For them, true liberty is freedom from anything that would stop us becoming the person we were created to be: someone capable of love for what is not ourselves – for God and our neighbour. True liberty is freedom from internal urges such as the greed, laziness or pride that turn us in upon ourselves rather than outwards towards God and each other. It is also freedom from external forces such as the grinding poverty that dangles the temptation to steal in order to survive, or an economy that constantly tells us that if you don’t acquire as much stuff as your neighbour you are a failure. It is not so much freedom for ourselves, but freedom from ourselves: freedom from self-centred desires, or the crippling self-absorption that makes us think only of our own interests. It is freedom to create the kind of society where we are more concerned with our neighbours’ wellbeing than our own.  

In this view of freedom, my neighbour becomes not a limitation or a threat, but a gift – someone without whom I cannot become someone capable of the primary virtue of love. Putting it bluntly, if I am to become someone capable of other-centred love, I need someone to practice on.  

This Christian understanding of freedom offers a vision of society where you might begin to trust other people to look after your own needs, because they are looking out for yours. It is also a vision of freedom that delivers personal happiness better than the libertarian view. Becoming the kind of person who has learnt, as St Paul once put it, to ‘look not to your own interests, but to the interests of others’ is in fact a recipe for healthy relationships and contentment rather than the increasing isolation of much modern life.  

Mill may have had a point in the stifling conservatism of Victorian Britain, but in an age of increasing loneliness, isolation and anxiety, his view of freedom doesn’t help build good neighbourhoods, families or communities. We need a better version - one that brings us together, rather than drives us apart.

Review
Addiction
Culture
Film & TV
Monastic life
5 min read

Mother Vera: from heroin addict to heroine helping the recovering

The horse-loving orthodox sister with a liturgy for life, and a dilemma.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A nun on a white horse, gallops across a snowy field, in black and white
Equine therapy.
She Makes Productions.

Across the arts, the recovery journeys of people with addiction and mental health issues are being re-narrated, giving voice to the navigators of their own personal transformation. In Mother Vera, the Grierson award winning documentary about a recovery community surrounding the Saint Elizabeth Monastery in Minsk, ritual and nature’s unfolding therapeutic power take centre stage. 

From Sister Act I and II, to The Sound of Music and Black Narcissus, big screen depictions of women’s monastic life tend to be overwrought. But Mother Vera is different. Shot in black and white, Cécile Embleton and Alys Tomlinson’s documentary visually pays subtle homage to Black Narcissus’ bell tower scene, with a nod to Citizen Kane here and a wink to Andrei Tarkovsky there, but the overall tone is sober, in every sense of the word. 

At the heart of the film is charismatic Mother Vera, a horse-loving orthodox nun, whose story of heroin addiction and betrayal by her onetime partner is micro dosed throughout the film. Surrounding Vera are a team of world-weary men, who she organises into readers for the monastery’s liturgies, as well as directing them in caring for the community’s cows and horses. They declare themselves “snowed in” by the monastic routine of “processions and liturgies” and relentless rounds of physical labour: shovelling snow and ice, feeding and grooming the animals. But the recovery community also acknowledges the bounded routines of the monastery keep them alive, able to face down their longing for drugs and drink. The rhythm of the natural world is woven into the liturgical year as Christmas cribs are replaced with Easter celebrations, all linked by scenes of candlelight, prayers and genuflections.

Early on in the film, Vera slips a puffa jacket over her black habit and gallops across the snow on a white horse. Without giving away too many spoilers, Vera’s desire for a life beyond the borders of the monastery grows as her story develops. Visits to her family show adolescent nephews and godsons growing into strapping maturity in her absence. Her mother relates the time Vera overdosed, 20 years ago, and doctors told her “to prepare for every outcome.” Vera reflects on how her charisma influenced “fresh faced girls” to become heroin users. For Vera, heroin went from being a portal of insight and revelation, to “showing its true face” which was diabolic. In monastery community meetings men praise how Mother Vera helped them to “reconstruct”. 

Vera initially joined the monastery for a year, to wait out her partner’s prison sentence. Twenty years on, she has reached a new phase of her own reconstruction. Immersing herself in a river, her parting words are: “Let’s move on. Let’s continue. Amen.” 

The community at Saint Elizabeth Monastery echoes the residents of W-3, the psychiatric ward in the American teaching hospital described in Bette Howland’s memoir W-3 first published in 1974, and republished four years ago. The author is admitted to hospital following an overdose, while she struggles to raise two children alone, on a part time librarian’s wage, while also trying to write. “For a long time it had seemed to me that life was about to begin – real life. But there was always some obstacle in the way. Something to be got through first, some unfinished business; time to be served, a debt to be paid. Then life could begin. At last it had dawned on me these obstacles were my life. I was always rolling these stones from my grave.” 

Howland positions the institutionalised rhythms of the hospital as the supreme life force, and ultimately more curative than talking therapy or medication. “For the sick in their beds were invisible. They were there only by implication. They must have existed, if only for the sake of this other life, full of importance – the bustling arms, starched coats; the carts, mops, ringings, beepings; the brisk comings and goings of white stockinged nurses.” The invisible, timeless guiding spirit of the hospital “as mysterious as a submarine”, would prevail regardless of what the medical staff or patients did, or resisted doing. Realising they were not the ones calling the shots, was the first step for Howland and her fellow patients to returning to life outside the hospital. 

Accepting community and kinship, rather than superiority or aloofness, with others in recovery is also a key feature of Saint Elizabeth Monastery and W-3. “Nothing was original on W-3, that was its truth and beauty,” writes Howland. And continually telling and re-telling her story to fresh batches of medical students, under a psychiatrist’s supervision, eventually allowed it to be transcended. “It is not strictly accurate to say that these interviews were of no use to us. Because you would have to tell your story yet once more, all over again. And each retelling, each repetition, hastened the time when you would get tired of it, bored with it, done with it – let go of it, drop it forever – could float away and be free.”  

In Mother Vera members of the lay community argue about accepting a new member, who may have been raped in prison, and is labelled a “downcast”. But the argument against allowing prison hierarchies to overshadow their new community wins the day, with the new member being integrated, and objectors accepting “you are no better than him.” 

Contemporary approaches to mental health and wellbeing also pivot on an acceptance of shared humanity and imperfect day to day life with its relentless demands, as well as acknowledgement of a power outside human control. In the Netflix documentary Stutz, actor Jonah Hill charts his sessions with Hollywood psychotherapist Phil Stutz. Stutz counsels his clients there is no escape from pain, uncertainty and hard work. To try to avoid these conditions, whether through fantasy or substance or addiction, is to live in the Realm of Illusion. Progress and satisfaction can only be achieved by embracing the here and now, and doing the next necessary thing for life to continue. Stutz calls these actions the String of Pearls, urging his clients to be the one to put the next pearl on the string. The outcome of the action is immaterial, it is the self -belief fostered by taking real world positive action in support of self-flourishing, that is critical. 

Stutz believes in a force for good he calls Higher Forces, and a malign force thwarting human growth he calls Part X. For Mother Vera her latter days at the monastery when she felt she could be of more service in the outside world were “tricking God”.   

From a Minsk monastery to a Hollywood therapist’s office, to a 1970s hospital, an acknowledgement of the divine, together with an embrace of each other and demands of daily life, emerge as key tenets of recovery’s long road. 

 

Mother Vera is released in the UK from 29 August.

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