Crib Sheet: The motherhood-as-misery exposé

In the first of a new regular series looking at parenting books, Glosswitch takes on Jessica Valenti's "Why have kids?" and other miserable-mummy manuals.

Expecting your first baby? Then allow me to patronize the living daylights out of you! I already have kids, you see, which makes me wise and all-knowing, whereas you don’t have a single clue about what awaits you. You might think you do, but you don’t. It’s not all gurgles, cuddles and fluffy bootees. Here, for instance, are some of the cold, hard facts about kids:

  • Newborns are, basically, rubbish at everything
     
  • Toddlers are marginally more interesting than newborns, but make crap conversationalists
     
  • As soon as your children can communicate fluently, you will embark on a lifetime of exchanging knowing glances with other parents before noting sagely that it was so much better “before they could answer back”

It’s not that I don’t love my children; they just don’t fulfill and complete me as a person. However, admitting to this involves breaking a massive taboo. So look at me, everyone! I’ve just gone and said the unsayable! What’s that you say? Betty Friedan and Marilyn French got there first, followed up in more recent times by Rachel Cusk? Gah! Is there nothing sacred for the likes of me to piss all over?

The motherhood-as-misery exposé should, of course, be essential reading for any woman planning to reproduce. Unfortunately, you’re unlikely to find the motivation to read such a book unless you’re already pregnant, at which point you find yourself in some terrible no man’s land, having already taken the plunge but unable, as yet, to confirm whether or not motherhood is as bad as they say. You half suspect that it can’t be all that terrible, otherwise no one would ever have more than one child. But then again, perhaps by the time you’ve had one you’ve ruined your life to such a degree that there’s nothing left to do but plunge headlong into further misery. Who knows? I do, obviously, for I have bred. But so too has Jessica Valenti.

In the somewhat plaintively titled Why have kids? Valenti seeks to explore, yet again, “the truth about parenting and happiness”. Unfortunately this truth is based on the assumption that before she actually experiences motherhood, every single broody woman is a complete idiot:

Women expect to get pregnant relatively easily […]; they expect to have a healthy baby, to breastfeed without complications, that their significant others will pick up half the slack, and that their children will fill them with happiness so pure that they’ll be content staring at their wee faces for hours without regard for life, limb or bathroom breaks.

I read this and can’t help feeling grateful – albeit briefly – that I’m one of life’s pessimists. I sure as hell didn’t think that. My feelings were more “well, I really, really want a baby, but I don’t know why, since they’re dead tiring and expensive. Oh well. Probably hormones or something”. Then I spent most of my first pregnancy panicking that I’d made a terrible mistake, usually because colleagues who were parents already seemed to take a huge amount of pleasure in sauntering up to my desk just to let me know how terrible their lives were and how I’d got “all this to come”. And it’s true, many things about the day-to-day practicalities of parenting are rather rubbish. Valenti writes of “the ennui, the feeling that this could not possibly be it, all that parenthood is cracked up to be”, and while it’s a step up from the “shit and string beans” depicted by French in The Women’s Room, life as a parent is far from perfect. It’s nothing like in the adverts, but then nothing ever is.

Valenti traces her own dissatisfaction as a parent to the traumatic premature birth of her daughter and her early fears that her daughter would die. I can identify with this; one of my children was very ill in the first few weeks of his life, and it did make the initial bonding far more tentative and fearful. All the same, the most miserable parenting memory I have is far more mundane than that. It involves sitting in a room with two children, one two, one seven months old. The two-year-old is obsessed with playing with wooden trains but continually tearful and frustrated at not being able to make incredibly long trains turn corners without coming off the tracks. The seven-month-old wants to stand up, all the time, but obviously he is unable to do so, so he insists that Mummy holds him up with both hands. He screams whenever she puts him down to do something else (such as put some wooden trains back on the track). Mummy is sleep-deprived, bored out of her mind and spends hours, days in fact, in the two-year-old’s bedroom with the wooden trains and the screaming baby. It is Hell, and it’s not even exciting Hell. It’s other people, sure, but Sartre never mentioned that said others would be your own kids.

And yet, it’s not all that bad, really. I’ve done equally boring things at other times, in other places. I used to do voluntary work for Oxfam, standing behind a till listening to the muzak equivalent of African tribal drums played on a loop for hours on end. Like looking after children, it was worthy and unpaid, but I hated it. That, surely, is more of a taboo than saying that childcare is boring. Working in Oxfam is boring (but worth doing, too, obviously. Not least because you get first dibs on all the second-hand clothes). I suppose none of this matters as long as you don’t feel the pressure to be “fulfilled”. Perhaps that’s the real difference between Valenti and me.

Valenti wants to change perceptions of motherhood (and on that I’m with her 100 per cent)  but she also wants us to be HAPPY, dammit, in a way I find quite terrifying:

But just because parental joy isn’t necessarily a given – or because it can be a dangerous expectation – doesn’t mean we can’t strive for it. Or that we can’t put an end to all of the things that are making us miserable. The truth is, we should try to get happy for our sake and for the sake of our children’s sake. Kids who have depressed parents are interacted with less than their counterparts with happy, non-depressed parents; kids of dads with depression have smaller vocabularies at two years old than kids of non-depressed dads. We owe it to our kids – and to the kids who aren’t ours – to ask questions about why parenthood is so hard, what we can do to make it an easier, happier endeavour, and what we’re lacking to ensure that happiness.

Bloody hell. I now feel horrendously guilty and unhappy about having been slightly guilty and unhappy to begin with. Can’t we just focus on valuing parents and children and understanding their needs, without this desperation to banish common-or-garden Weltschmerz? I might be a mummy, but I’m still not ready to throw out my Joy Division cassettes (moreover, I’m not all that keen on suggesting to parents with clinical depression that they’re harming their children simply by being sad).  

The truth is, I have more empathy with Rachel Cusk. When A Life’s Work was published in 2001, I didn’t have children, but the extreme reactions it provoked suggested to me that Cusk might have a point. Having re-read it since becoming a mother myself, I have a lot of time for the view that motherhood is devalued precisely because it is so laborious, so repetitive, and yet so central to our very existence. All the same, there is a part of me who looks at Cusk’s prose and thinks “crikey, aren’t you over-thinking things a bit, love?” Then I feel that I am too stupid, or at least not quite thoughtful enough, to grasp the magnitude of what I am doing, and that I am too selfish to have allowed motherhood to change me in more fundamental ways. For instance, here’s Cusk describing shopping for clothes in Oxford Street without her daughter:

I want to buy clothes, to make up for two years in which I have been as far from fashion as an anthropologist on a long field trip; but the rack of things looks incomprehensible and unrelated to me, like costumes for a drama in which I no longer have a part. I lack the desire for myself that would teach me what to choose; I lack the sense of stardom in my own life that would urge me to adorn myself. I am backstage, attendant. I have the curious feeling that I no longer exist in synchronicity with time, but at a certain delay, like someone on the end of a transatlantic phone call. This, I think, is what it is to be a mother.

Cripes! Looking at my bank account, I really wish I had that problem. Since having children, I have had no problem at all in wandering off on my own to over-spend on garments just for me. In fact, since breastfeeding has left me a bit smaller “on top” and thus a more average size than I used to be, a whole new world of clothing over-spend has opened up to me (wish I’d had that in the Oxfam days). That’s something they never mention in the books.

Don’t get me wrong; I do think it’s important to view parenthood in an honest light, and it frustrates me when mothers in particular are merely patted on the head and told that they’re doing “the most important job in the world”, as though such praise compensates for no one listening to their concerns. Even so, it worries me that parenthood is taken quite so seriously by some. Yes, it’s a huge undertaking, but providing you don’t get too wrapped up in metaphors of transience and loss, it doesn’t have to destroy you. Sure, there will be times when you regret having kids, but you know that if you hadn’t, there’d have been times when you regretted not having kids. It’s just one of many lives that got away.

And anyhow, once they’re there, they’re there. Certainly, I have moments of feeling overwhelmed by it all. My children will be tearing each other apart and I’ll say to myself “okay, it’ll all get easier when - *runs through childhood, fraught teenage years, exams, relationships, experimentation with drugs and alcohol, expensive higher ed and/or unemployment* - oh, actually, I forgot, it never gets easier”. But with moments like that, you just have to push it all to the back of your mind.

It’s rather like being vaguely aware of your own mortality, coping with the knowledge of what having kids really entails. You don’t need a book to help you through it, just as long as you don’t think too far ahead and don’t ever ask yourself what it’s all for.
 

Shopping, mummy-style. Photograph: Getty Images

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

Photo:Getty
Show Hide image

Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.