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So many teenage girls don’t want to identify as girls any more. And who can blame them?

Among internet-literate teenagers, gender has become the primary way to challenge the mores of older generations.

On the bus back from the cinema, a conversation drifted over from the back row. A mother questioning, curious, her speech accented; her teenage daughter, with perfect RP, fielding her inquiries with the exasperated patience that flourishes between the ages of 13 and 21.

“No, Mum, you’re a cis woman because you’re the gender you were born as.”

“OK. And what about Lily?”

Lily – or, perhaps, Daisy or Rose – was a school friend who was now using the pronoun “they”. The heavy overtone of the daughter’s forbearance was that these were matters her mother could not understand.

Among internet-literate teenagers, gender has become the primary way to challenge the mores of older generations. I know four journalists – London-based, middle class – whose children have announced that they do not consider themselves to be girls. It seems too many to be a coincidence. And if pained teenagers are now explaining gender fluidity to their mums on the 108 from Millennium Leisure Park West, you know the idea has truly gone mainstream.

We should welcome young people challenging gender, an arbitrary system that has acquired the status of immutable human nature. Name almost anything now associated with women – high heels, long hair, the colour pink – and you can find a time or place when it was considered masculine. And just as feminists once fought for “Ms” alongside “Miss” and “Mrs”, people should be allowed to take gender out of their honorific altogether and go by “Mx”. Getting used to “they” as a singular pronoun is harder but not impossible. Language evolves.

However, there is more to the current Gender Revolution than upending our assumptions about the “correct” names or pronouns or hobbies or appearance for men and women. In the past few years, the word “transsexual” has dropped out of favour – it is considered impolite to reference sex – in favour of “transgender”. But this obscures the idea that to cross definitively from one gender to another requires surgery and a lifetime of synthetic hormones. For trans men, it’s top surgery – breast removal – and, more rarely, a phalloplasty to make a penis, plus testosterone (“T”), which lowers the voice, hardens fat to muscle and unleashes any latent male-pattern baldness. For trans women, oestrogen (HRT, used off-label) can be supplemented with breast implants and a procedure to skin the penis and invert it, creating a neovagina and clitoris.

These surgeries are non-trivial – I have a friend undergoing the latter this summer and she will be housebound for two weeks afterwards, with a 12-week recovery period. Infection is always a risk. For her, it’s a life-saving intervention: she says she simply would not want to live in a male body.

But 80 per cent of gender-nonconforming children do not grow up to be transsexual; many emerge as happy gay men or lesbians content to live in their birth sex. A strange taboo has sprung up about mentioning this, as if the way that some people do not turn out to be trans invalidates the experiences of those who do. It should not.

But separating dissatisfaction with the social constraints of gender from body dysphoria is vital. Because we have smudged together the categories of “transsexual” and “transgender”, is every youngster who questions their gender – and, frankly, every youngster should, because gender is restrictive bollocks – getting the message that they must bind their breasts or tuck their penis? I wince when I read oh-so-liberal parents explaining that they knew their toddler son was a girl when he wore pink and played with Barbies. Is there really anything so wrong with being a boy who wants to dress up as Elsa from Frozen? Or a girl who would rather be outside getting muddy than wear skirts and be “ladylike”? Toys and children’s clothes are becoming more gendered: when I was young, we played with Lego – not “Lego” and “Lego for Girls”. As we have shrunk the boxes, is it any wonder that more and more children want to escape from them?

In the year to March 2015, the Tavistock in London – the only specialist gender clinic in the country for under-16s – saw 697 children. This year, it saw 1,419. The largest surge has been among girls aged 14 and over and it is this group I feel most personal affinity for, because, if I were growing up today, I would be among them. A few years ago, I found a textbook from my junior school, with three sentences that floored me: “My name is Helen. I am nine years old. I am skinny.” And the truth was, I was skinny. I had a bowl haircut and wore culottes. Then puberty hit and I piled on a few stone in a year. Taut pink skin turned to lumpen fat and mottled flesh. And everyone had an opinion about it. I was trapped inside a body that didn’t feel like mine any more.

Many of my school friends felt the same way. Some tried to escape through vomiting or starving. Others were part of that charmed cohort who became lissom, beautiful, golden; their parents felt a different sort of ­worry and they were treated to sermons about getting into strange men’s cars.

I won my body back by defacing it; at least, that’s how my parents saw it. An earring, then two. And another. Then piercings that no one could see: nursing each one like a wound or a child. Salvation through pain: a metal bar through cartilage that couldn’t be slept on for a month. A tattoo that hurt like hell. Pink hair, ebbing to orange in a shower that looked like Carrie. And finally – finally – a body that felt like me.

I tell my story not to belittle anyone else’s, or to imply that they have chosen the wrong path. If you cannot live in your body, then change it – and the world must help you to do that. But if you feel crushed by society’s expectations, it might be that there’s nothing wrong with you. There’s something wrong with the world.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 26 May 2016 issue of the New Statesman, The Brexit odd squad

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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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