Don't be sniffy about "Mumsnet Feminism"

Anyone sneering at Mumsnet as a forum for feminist discussion probably hasn't visited the site very much, says Hannah Mudge.

Mumsnet has recently published the results of its Feminism Survey, conducted in July with over 2,000 participants. Unlike the universally-panned (but much hyped by the media) Netmums feminism survey of 2012 that reported the movement was off-putting to most women and instead championed "the rise of the feMEnist" (I blogged about this) - this survey is actually a little bit heartening.

It found that members of Mumsnet felt that being a part of the site had made them more likely to identify with feminism, more aware of feminist perspectives on everyday issues, and and had changed their opinions on what constitutes domestic abuse, as well as enabling them to understand different perspectives and choices to their own.

Everyone has an opinion about Mumsnet, particularly people who have never actually explored the site before. I seem to remember becoming aware of this around the time of the last general election, long before I knew much about it, in fact. A lot of mockery was going on: politicians trying to appeal to "Mumsnet types", having livechats and acting all interested in their concerns. There was justified irritation that some politicians seemed to be making out that the only political issues women are interested in are those relating to motherhood and children, but also plenty of stereotyping of the sort of women who congregate on Mumsnet.

For certain (usually reasonably right-wing) commentators, and most people "below the line", the site is full of silly, smug, middle class women with "baby brain" talking about their overprivileged, indulgent lives. They have the ability to form a hysterical, bullying mob at any given moment and make the lives of anyone who disagrees with them hell.

For certain feminists, Mumsnet's frequented by silly, smug, middle class women talking about their overprivileged, indulgent lives and worrying themselves with "trivial" issues as they "moralise" about society, assuming they're better than everyone else because they have children and attacking those who make different parenting choices to theirs.

As the Guardian report on the survey began to attract attention this morning, it was great to see so many people talking positively about it and acknowledging the work that Mumsnet is doing - through successful campaigns, for example. Yet at the same time (because this is Twitter we're talking about here): "God help feminism if it's being represented by bloody Mumsnet," said others, no doubt envisaging the overprivileged and overindulged being hailed as the new leaders of the movement.

Notable this weekend has been backlash against the Guardian's inclusion, in the piece, of Ticky Hedley-Dent's comment (from "a Twitter debate earlier this year") that "I think Mumsnet is key to understanding feminism. Feminism hardly comes into play until you have kids. Then you get it." Why are these women insinuating that having children is what really makes you a feminist? Why are they excluding women who don't have children? This is everything that's wrong with feminism, people.

I don't think that particular quote was the best way to illustrate what some of the women interviewed by the Guardian about the survey are trying to say. Of course gender inequality impacts you before you have children or if you don't ever have children. Who's going to deny that? But pregnancy and motherhood undoubtedly highlight new issues, and bring to the fore problems that may well have not been a feature of some women's lives before. No one is saying that you haven't experienced inequality until you've had children. What they mean is that motherhood makes you much more aware of particular issues and aspects of inequality. And for many women, this will undoubtedly have the effect of "galvanising" their beliefs about feminism.

I've been meaning to blog about the way that "mothers", as a group, and their concerns are often dismissed and belittled by both the left and right for being "too middle class" and "trivial" for some time now, because I can't help but notice it any time someone mentions a campaign that affects children - backlash against the ubiquitous pink/blue distinctions between toys, and the types of toys that are marketed as being "for boys" and "for girls"; backlash against lads mags and Page 3 being easily seen by children in shops; backlash against anything that's seen as presenting children with harmful messages about sex.

The middle class mother is a prime target for sneering, whether she's not working outside the home and therefore, apparently, living a pampered life funded by her husband, or else harming her children in myriad ways by "leaving them" to heartlessly pursue a career. It's a different sort of sneering to that aimed at working class mothers, but the comments aimed at both groups imply stupidity and the idea that their worries and concerns aren't "real" ones. Why would a woman, in this day and age, choose to define herself at any point by the fruits of her womb? Aren't we past all that? As I think I mentioned in a post I wrote while on maternity leave, sorry that some of us want to talk about things that are an enormous part of our lives. Some feminists assume that the voices of women who aren't white and middle class are ignored by these parent-focused campaigns and issues. This is a legitimate concern for those of us who observe the way the media has publicised activism in recent years, but to assume is dangerous and all too often inaccurate.

If you don't spend time on Mumsnet and feel contemptuous about its members, how much do you know about them, really? And how much do you know about their campaigns? Here are a few:

This Is My Child aims to "support parents of children with additional needs, inform everyone else, and open up a conversation about how we can all act to make life easier for everyone caring for children with additional needs." The campaign has been debunking myths about disability and raising awareness of how we can challenge assumptions about the issues involved.

We Believe You is aimed at busting the victim-blaming myths about rape and sexual assault, was launched amid an overwhelming response to members being encouraged to talk about their own experiences and why they did or did not report them to police or tell friends and family.

Better Miscarriage Care put pressure on the NHS to provide more sensitive and responsive treatment to women experiencing early pregnancy loss. As someone with friends who have had distressing experiences with healthcare professionals while miscarrying, I know this is vital.

Let Girls Be Girls, a campaign that launched in 2010, was a response to growing concern about the way advertising, music, clothing, and magazines encourage a view of sex and sexuality that encourages girls to focus on appearance above all else, tells them that they exist to please boys and men, and tells them that their most important quality is how "sexy" they are.

Bounty Mutiny is asking politicians and the NHS to rethink the fact that Bounty sales reps have a presence on postnatal wards, pressurising women into giving out personal details and invading their privacy at a time that's at best a time for family, bonding with a new baby, and recovering from labour, and at worst, a time of worry, trauma, and possibly grieving.

I wouldn't describe any of these campaigns as "trivial" and "silly". Would you say the same for some of Mumsnet's forums, where you can find long-running threads on recognising the "red flags" of an abusive relationship, posts offering help and resources to women in abusive situations, and personal support to individuals as they go to the police, walk out on a violent man, or rebuild their lives?

How much do you really know about the boards where women discuss their experiences of assault and rape, support members who are survivors, offer advice on workplace discrimination, and help each other thrash out some of their first, conflicted thoughts about body politics and equality in relationships? Do you really know much at all about all the consciousness-raising discussions? The "shouting back" about everyday sexism? The support for women who've gone through miscarriages and stillbirths or are coping with having a terminally ill child?

If you don't, but your first reactions to discussion of a community of (mostly) mothers online are sneers and "God help feminisms", then it's probably time, in the tradition of the internet, for me to direct you to Google, with the instruction that you're perfectly capable of educating yourself about all this stuff. Mothers are a vital part of your movement and are providing important comment on so many important issues. If you don't know this because they're "not on your radar", ask yourself why.

Further reading - Glosswatch: Why Mumsnet feminism matters

Children. Photo: Getty

Hannah Mudge blogs at We Mixed Our Drinks and tweets @boudledidge

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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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