Demonstrators at an anti-Atos protest. The company has since abandoned its contract with the DWP.
Show Hide image

How do we make the fit-for-work tests fit for purpose?

Maximus has just taken over the running of the controversial Work Capability Assessment from Atos. What’s broken and how can they fix it?

David waited nervously to see the physiotherapist who would judge whether his learning disability stops him from working, just as thousands like him do every month.

David already knows the answer – for him, it does. But he felt powerless.

Half a million other people are waiting for this assessment who, like David, want to live normal lives and just need a little help. Whether extra help to find a job, or support because they can’t work, the Work Capability Assessment (WCA) is the gatekeeper to a lifeline that millions of disabled people rely on. This lifeline, the out-of-work benefit Employment and Support Allowance (ESA), helps disabled people to live the kind of life that most people take for granted.

David lives independently with a carer - someone who helps him to shop, cook, manage his money and even get out of the house - things he struggles to do alone. They told the physio this, and more, in his scarcely 15-minute long assessment. Several months later, David got a letter telling him he’d been refused ESA and was ‘fit-for-work’.

His choice was to either go hungry or claim Jobseekeer’s Allowance (JSA). This would force him to spend 35 hours every week applying for jobs on a computer. He can’t use a computer or spend 35 hours per week looking for a job because of his learning disability. David would probably end up being sanctioned as a result and eventually go hungry anyway.

David and his carer couldn’t believe it, especially as the physio’s report didn’t reflect David’s needs at all. Like many people with a learning disability, David tends to agree with questions he doesn’t understand - something the assessor clearly wasn’t aware of. ‘Tick box’ is how many describe the assessments, designed by the Department for Work and Pensions (DWP) and carried out by a third party.

David couldn't see how badly the assessment had been, as he couldn’t read his own report; his carer had to. Bizarrely the DWP doesn’t provide alternative formats like ‘easy read’ for their disability benefit assessments.

When asked to reconsider their decision, the DWP maintained that David was fit-for-work and had to find a job. David now has to face a tribunal, represented by his 75-year-old dad, leaving him feeling even more powerless than when he walked into that assessment.

In 2012/13, £66m of taxpayers’ money was spent defending ESA tribunals like David’s, with just four in ten being upheld.

At the start of March, Maximus took over the running the WCA from Atos. Perhaps Maximus will improve the quality of assessments, the quality of training (which clearly isn’t adequate), and perhaps more people will get the right results.

Maximus could improve the assessment right now by matching claimants with more suitable assessors - ending the current lottery of whether you’ll get a doctor, nurse, physiotherapist or occupational therapist who may not understand your disability.

But Maximus can only change so much. It’s up to the DWP to fix the rest of the issues. Issues like the backlog of half a million people, the flawed ‘tick box’ interview, the refusal to provide information that disabled people can understand (here's an easy read sample – it’s not hard to make). Things like the rigid format of the assessments and the fact that people on ESA - no matter their condition - repeatedly undergo assessments, whether or not their condition has changed or even can.

We don’t know how Maximus will fare. We don’t know if the DWP will make those changes. We do know that changing the company conducting the assessment won’t fix a fundamentally flawed system.

We don't need a system that forces thousands of our society’s most vulnerable people, like David, to live in fear of the next letter dropping on their floor, the next ring of their phone, or the next knock on their door.

We need a fit-for-work test that is itself fit-for-purpose. 

James Bolton leads work on welfare and health policy at Mencap and is the co-chair of the Disability Benefits Consortium, a group of over 50 health and disability charities. James was an expert witness for the Public Accounts Committee’s investigation into Personal Independence Payments in 2014. He tweets at @JamesABolton.

Getty
Show Hide image

Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

0800 7318496