Stay-At-Home Daddy and Breadwinner Mummy: guilt and the illusion of choice

Traditional gender stereotypes belie the fact that almost everything about parenting is a compromise.

According to figures released by the Office for National Statistics, the UK now has more stay-at-home dads than ever before. Of those caring for children while their partner brings in a wage, almost 10 per cent are male. Way-hey! Take that, traditional gender roles! Before long it’ll be up to 50 per cent and then all hell will break loose and… Well, maybe not just yet. After all, stay-at-home dads just aren’t the same as stay-at-home mums, are they?

The rise in stay-at-home dads is, reports the Telegraph, “down to men losing their jobs in the recession and either failing to find new employment or deciding that it did not make financial sense for them to return to work if their partner was a high earner”. This is of course completely different to what happens with stay-at-home mums, who give in to biological necessity once they realise that they cannot “have it all” (NB economic necessity is only a factor for women who are poor and, as everyone knows, you can’t be a proper SAHM if you’re poor. You’re just a scrounger, or so it would appear). But what, meanwhile, of the Breadwinner Mummies? Where do they fit into this? Are they the new feminist heroines? Sadly, it would appear that they’re anything but.

Having trawled the annals of popular culture – in between “distressing” mince pies, à la Kate Reddy – I can confirm that Breadwinner Mummy is a wannabe hardcore businesswoman who’s ended up a bumbling idiot because she didn’t realize that “having it all” would mean “doing it all” (see photo in Exhibit A). Meanwhile, Stay-At-Home Daddy is the wussy subject-in-waiting of a Rachel Cusk-style dissection of his masculinity (see headline in Exhibit B). Ha ha! Everyone’s a loser (apart from Baby, who gets to fling food around). And so an opportunity to examine changing cultural norms becomes an attempt to reinforce old ones. Social conservatives are nothing if not resourceful.

Of course, back in reality, your average SAHD and his career-bitch partner are probably getting along just fine, which isn’t to say brilliantly. It’s hard to be getting along brilliantly when your normal interactions are being undermined by feeling that actually, everything’s been scripted by the writers of Three Men And A Baby. SAHD goes to toddler group and is patronised to within an inch of his life while Mummy gets home to find her children are not the sweet, cheery Walton-esque cherubs she thought they were. None of this happens because children are children and parenting’s a bit random at the best of times. It’s because Daddy is useless and should be out mending cars while Mummy’s become a cold-hearted automaton who can’t relate to her own flesh and blood. That’s what you end up feeling – and how you end up responding to the ups and downs of everyday life – because that’s what the media, advertising and those around you all seem to insist.

In such a situation it’s hard not to become defensive. I’ve worked full-time both before and after having children. Sometimes I have earned more than my partner, sometimes I haven’t. Sometimes he’s been at home with our children, sometimes he hasn’t. Right now I have the larger salary and spend less time doing childcare (my partner works but is available in the school holidays). I’m tempted to brazen it out and pretend it isn’t a compromise but of course it is. It’s just how things are. I haven’t managed to single-handedly find the magic balanced lifestyle, combining mid-recession financial security, a nurturing home environment, acres of quality time, blah blah blah. Unless you are very rich, you probably haven’t, either. It’s not about gender or morality but it feels as though it is. What’s more, it probably isn’t all that important – as long as you love and support your child, is there a perfect way to raise him or her? – yet it’s increasingly hard to discuss these things in a nuanced manner. I might think I’ve “ended up” playing the career mummy role but I also feel pressured into pretending I bought into a whole ethos. You’re not allowed to show weakness; your frailty is for other to people to spot (usually when they identify Ready Brek splatters on your power suit while you’re doing that imaginary board room presentation).

As for being the partner of a stay-at-home dad – well, for the brief period when I was one, I loved it. Not because it was some kind of gender triumph. It was just nice because we had more space and time. Neither of us were rushing through the door, desperate to cook tea in two seconds flat before our children got too tired to eat. We weren’t finding clothes that smelled musty because there’d been no one around to take them out of the washing machine. Since then I’ve often thought that it would be good to work part-time, just to have a day in which to do housework. Now that doesn’t sound very feminist, does it? But that’s just how, in real life, these decisions are made. It’s about practicalities as much as ideals, for all of us, and besides, someone’s got to do the clearing up (in theory, at least; the state of my house suggests an ongoing attempt to prove otherwise).

Most of us, male or female, don’t get an awful lot of say in matters of paid work, housework or childcare. It just looks as though we do because those who speak for us tend to be the ones with more freedom. Hence the illusion of choice and hence the fact that a combination of parental guilt, financial limitation and straightforward sexism can make us vulnerable to misinterpreting our own motives. It looks like a morality tale, but it’s not. The chances are, wherever you find yourself – and whatever the label – you’re probably not as bad a parent, partner or worker as you’ve been led to believe.

Is there really such a thing as a perfect way to raise your children? Photograph: Getty Images

Glosswitch is a feminist mother of three who works in publishing.

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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.

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