The baby pay gap is still alive and kicking

Women aren't "the richer sex".

The Spectator's cover story this week is another re-examination of the changing face of the gender pay gap - somewhat provocatively titled "the Richer Sex".

Needless to say, women are not actually the richer sex. Their median wage remains 11 per cent below men's in the latest comprehensive study by the ONS, from 2007. Instead, the piece's author, Liza Mundy, touches on two trends which she sees in the UK.

The first is that, as the pay gap narrows (and it is narrowing – it is down from 16.5 per cent in 1997), the number of women earning more than their male partners will inevitably increase. Mundy highlights the apparently devastating effects that has on these "pursewhipped" men (a word apparently "slowly entering the English language", though not slowly enough):

I interviewed a woman I'll call Felicity, who married a gregarious salesman earning a third of what she did, But while he enjoyed the lifestyle her money could buy, he came to resent it. He started working less, playing golf more and watching TV instead of coming to bed with her. She wasn't surprised when she found his stash of online porn, but was still shocked. She ended up going into therapy.

Much the same argument was made, reduced to its barest essentials, by Tony Parsons on Woman's Hour in May, when he told Jane Garvey "my penis would literally fall off [if my wife earned more than me]. Literally, Jane, it would literally fall off."

Thankfully, this epidemic of shrivelled members is still a long time coming, because the gender pay gap has more structural reinforcement than Mundy makes out.

She correctly points to the fact that, in the first third of their lives, women – particularly educated, middle-class women – have largely closed the gap. Take the continued better performance of girls at GCSE, or her example of university education:

Women receive 58 per cent of all undergraduate degrees. Half of trainee barristers and 56 per cent of medical students are women, compared with 25 per cent in the 1960s.

And the increased success of younger women has paid off: between the ages of 24 and 32, the pay gap is negative. Younger women earn more than younger men.

But therein lies the rub. Munz optimistically assumes that this will continue; as that cohort ages, the gender gap will disappear, and women will actually become the richer sex. But the evidence points to a different outcome. The gender pay gap hasn't disappeared, it's just become a baby pay gap:

The pay gap between women and men with no children is 8.0 per cent. The pay gap between women and men with four children is 35.5 per cent. (For one child, it's 12.3, two is 14.9, and three is 19.0).

The pay gap between men and women who are married, cohabiting or in a civil partnership is 14.5 per cent; the pay gap between single men and women is -1.1 per cent. For the purposes of the point I am making, of course, one can read "single" as "unlikely to have a child any time soon".

It's not even enough to not have children, either. Once a woman reaches an age where potential employers think she might have children, the pay gap starts to widen.

The problem is that we have a legal system which emphatically reinforces the idea of women as carers, and from that we get the society we deserve. With the discrepancy between paternity and maternity leave, it's made unfairly difficult for a family to fight traditional gender roles. And so while I hope that Munz is right, and that we will start "calling into question the old notion that women are 'hard-wired' to seek providers", we can't just hope that a generation of smart girls will do it for us.

She might be earning more now, but it won't last... Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

Getty
Show Hide image

What’s it like to be a human rights activist in post-Pussy Riot Russia?

It is five years since the feminist punk collective crashed Moscow’s Cathedral in a performance that got some of them jailed.

On 21 February 2012, five brightly-dressed members of Russian feminist punk collective Pussy Riot took to the alter of Moscow’s Cathedral of Christ the Saviour to protest links between the Russian Orthodox Church and its “chief saint” Russian President Vladimir Putin. “Virgin birth-giver of God, drive away Putin!” they shouted from beneath now-iconic balaclavas.

The “Punk Prayer” was both a political statement and a powerful feminist message. Six months later, a judge sentenced three of the girls to two years in prison (one was rapidly released) on a conspicuously apolitical conviction of “hooliganism motivated by religious hatred”.

These past five years, Russia’s involvement in crises in Syria and Ukraine has cast a dark shadow over relations with an increasingly cleaved-off West. The year 2015 saw opposition politician Boris Nemtsov murdered some 500 metres from the Kremlin walls.

Domestically, society has constricted people challenging the political status quo. However, low-key initiatives retain traction.

“Artists are simply silent,” says Russian curator and gallerist Marat Guelman, who left for Montenegro in early 2015. “It is better not to say anything about politics, it is better to bypass these issues.”

This is a major difference from five years ago. “Despite persecution against Pussy Riot, people were not afraid to defend them,” he says. “It was a better time.”

There are three topics artists and curators now avoid, says artist and feminist activist Mikaela. One is “homosexuality . . . especially if it involves adolescents”, she says, citing a 2015 exhibit about LGBT teens called “Be Yourself”. Authorities closed it and interrogated the galley owner. “Then the war in Ukraine,” she says. “Russian Orthodoxy is the third topic you cannot tackle.”

Marianna Muravyeva, a law professor at Moscow’s Higher School of Economics, says that aside from the government completely discarding human rights rhetoric, the most significant legal change is the “gay propaganda” law and “legislation against those who insult the feelings of believers”.

The latter came into force in July 2013. Since then, the Orthodox Church has made deeper societal incursions. Muravyeva says that the secular nature of the Soviet Union led to residual feelings of guilt towards the Church – and now it uses that “capital”.

Mikaela observes a “cultural expansion”, citing a new TV channel, radio station and three new churches in her neighbourhood alone.

Orthodox activist attacks on exhibits have increased. In August 2015, they targeted an exhibit at one of Moscow’s most prominent art galleries. Its perpetrators were found guilty of “petty hooliganism” and handed a 1,000 rouble fine (£14 by today’s rates).

“Any word written in Old Slavonic lettering is spirituality,” says Guelman. “Any work of art by a modern artist . . . depravity, sin, the impact of the West.”

Similar groups are active across Russia, and galleries err on the side of caution. Perpetrators, while self-organised, believe their actions to be state-sanctioned, says Muravyeva. They are influenced by “the kinds of messages” conveyed by the government. 

Nowadays, self-organisation is integral to artistic expression. Mikaela witnessed educational institutions and foreign foundations telling artists “we are with you”, “we know you are smart” but they cannot host political works for fear of closure. Not knowing where the “invisible line” lies foments uncertainty. “It’s self-censorship,” she says.

Dissident artist Petr Pavlensky, notorious for nailing his scrotum to the Red Square in late 2013 (“Fixation”) and setting fire to the doors of the FSB in 2015, advocates personal agency.

“Fixation” was about a sense of helplessness in Russia that must be overcome; he tried to convey the amount of power the castrated have. “Pavlensky says, ‘Look, I have even less than you’,” says Guelman. The artist and his partner Oksana Shalygina are now in France intending to seek asylum after sexual assault accusations.

Some rise to the opportunity, such as Daria Serenko. She rides the Moscow Metro carrying political posters as part of Tikhy Piket or “Silent Protest”. Her 12 February sign depicted a girl with her head in her arms inundated by the comments received if a women alleges rape (“she was probably drunk”, “what was she wearing?”).

However, as a lone individual in a public space, she experienced hostility. “Men, as always, laughed,” she posted on Facebook afterwards. Earlier this month an anonymous group pasted painted plants accompanied by anti-domestic violence messages around Omsk, southwestern Siberia.

Their appearance corresponded with Putin signing legislation on 7 February decriminalising domestic abuse that causes “minor harm”. While it doesn’t specifically mention women, Muravyeva says that the message “women can manage on their own” is a “disaster”.

On 27 January, after Russia’s parliament passed the final draft, pro-Kremlin tabloid Life released a video (“He Beats You Because He Loves You”) showing how to inflict pain without leaving a mark.

Heightened social awareness is aided by online networks. Since “Punk Prayer”, the proportion of people using the internet in Russia has exploded. In 2011, it was 33 per cent, while in 2016 it was 73 per cent, according annual Freedom House reports. Authorities have concurrently exerted stronger controls over it, eg. targeting individual social media users through broadly-worded laws against “extremism”.

Last July, the hashtag #ЯНеБоюсьСказать (“#IamNotAfraidtoSay”) went viral. Women documented experiences of sexual violence. Russian organisation Сёстры (“Sisters”), which helps survivors receive psychological support, receives “250-350” crisis calls annually.

“Over the past year, the number of applications increased,” because of the hashtag, it says. New media platforms Meduza and Wonderzine also emerged as more “socially aware” outlets. Previously “all we had was LiveJournal communities,” Mikaela says.

Bottom-up challenges are partially due to a generational shift. “Nobody bothered before,” says Muravyeva. “Those children who were born after ‘95 . . . they were already born in a very free society – they don’t know what it is to be afraid, they don’t know what it is to be self-censoring, what it is to be really scared of the state.”

Aliide Naylor is a British journalist and former Arts and Ideas Editor of The Moscow Times.

> Now read Anoosh Chakelian’s interview with Nadya Tolokonnikova of Pussy Riot