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On freedom vs motherhood

On freedom vs motherhood

In 2017, the journalist Angela Levin wrote a piece for the Daily Mail that prompted an outpouring from readers. Billed as a 'taboo-breaking admission', it was titled 'My mother was a cruel and horrid woman' and described a lonely childhood marked by demeaning comments and acts of spite. When Levin told her mother that she was pregnant she was told: 'I hope the baby is like you. Then you'll appreciate what I had to put up with.'
In the weeks following the article's publication, scores of readers wrote in with accounts of their own painful experiences. Many were women in their sixties and seventies sharing for the first time their true feelings about their mothers. In a feature reflecting on this correspondence, a Cambridge psychologist, Terri Apter, noted that many of the writers were the children of mothers 'who really didn't see themselves as having a choice in the matter'. This was a generation for whom marriage and children were simply assumed. Had they been able to choose, Apter suggested, they might have 'spared their children a life of suffering'.
I found these articles coming to mind while reading Childless by Choice: The Meaning and Legacy of a Childfree Life, a compelling memoir in which Helen Taylor, now in her seventies, describes her life without children, one filled with teaching, writing, travel, friendship and love. While Taylor's own mother – to whose memory the book is dedicated – was not unkind, she was, Taylor recalls, 'an intelligent but sad and bitter woman' who 'always seemed exhausted'. Taylor enjoyed a different path, fulfilling her academic potential through higher education, setting up the first women's studies course at Bristol Polytechnic and winding up as head of English at Exeter. She threw herself into the Women's Liberation Movement in the 1970s and found an ideal partner who shared her desire to remain childless. She describes a rich life, one that was partly a reaction to her own mother's predicament. From childhood, Taylor was regularly reminded that children were 'a burden and a problem, and if I were wise, I would never have any'. Life without children, her mother's comments suggested, would be 'blissfully unproblematic'. Taylor's conversations with other childless women lead her to the conclusion that this experience is not unusual. She uncovers 'a childhood pattern of unhappiness, maternal reluctance or neglect, which led them early on to resolve never to have children of their own'.
Taylor is of the baby-boomer cohort, and acutely aware that she belongs to the first generation able to opt for a life without children thanks to the introduction of the contraceptive pill to the NHS in 1961 and the liberalisation of abortion laws in 1967.
But this demographic was more likely to have children, and earlier in life, than any other since 1920. More than half of women born in 1946 had a child before the age of 24. Fewer than one in ten had no children at all. And so, at a time when it was easier than ever not to have children, Taylor found herself more in the minority than the generation that preceded hers.
Despite the growing prevalence of childless (or child-free) women – the Education Secretary, Bridget Phillipson, is the latest figure to express alarm about the perilously low birth rate – the stigma endures. There is still, Taylor notes, a tendency to regard childless women (at least those unable to boast of lucrative careers, strong relationships and comfortable homes) as 'unnatural, freakish, pitiable or child-hating'. And childless writers hit back with defiance: 'The conventional wisdom is that I must be broken by my barrenness, executing a crazed tarantella to the dying beat of my biological clock,' wrote Hannah Betts in the Times last year. Mothers who vaunt their choice are 'forever lamenting' their lives, she observed. 'Call me a spoilt bitch, but I am not jumping at the opportunity to be a sleepless, sexless, career-frustrated drone.' On social media, young women can be found documenting the joys of a child-free life. 'Here's what your Saturday morning looks like when you're single at 29 and you don't have a kid running around the house,' one American podcaster, Julia Mazur, announced in a viral TikTok post a couple of years ago. Beginning with a hungover lie-in, the clip documents a day spent learning how to make shakshuka and watching TV. The fact that Mazur became the victim of abusive comments (she told Rolling Stone that she had been told she deserved to die alone and should kill herself) is a reminder that a child-free life attracts active hostility, not just pity and condescension.
Picking up Taylor's book, I had expected to encounter a lively defence of the child-free life – an encomium to the joys of freedom from the constraints of motherhood. I recalled the Sex and the City boxsets I had blitzed my way through in the early 2000s, and the list Carrie Bradshaw fired off when considering the advantages of childless life with a glamorous Russian ('Him, sex and travel. Comfort, love and extraordinary adventures'). I was unprepared for the more nuanced, searching and occasionally melancholic tone of Childless by Choice. 'My tale is not tragic – though it contains bewilderment, regret and sorrows, as well as happiness and fulfilment,' Taylor writes in the preface. 'There are doubts and ambivalences I have never really confronted, and for the sake of younger women and my contemporaries who share such feelings, I'm going to try to unpack them.'
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What follows is a candid probe into these ambivalences. At moments, doubt comes close to regret, but clarification is usually added. Taylor first felt 'twinges' of it in her fifties, while helping to care for her disabled mother and wondering who might eventually do the same for her. While observing families on the beach on holiday in Corsica she found herself surprised to sense what she might have missed. This was not, she stresses, a case of being an 'emotional wreck', but of becoming aware 'of the limitations of my choice, and the narrow range of my human interactions'.
As she looks back on decades in which she had scant contact with the daily lives of children, a recurring theme emerges: that to remain childless is to exist on the fringe, 'an observer of others' family lives'. At times this idea is delivered as a warning. If you are not a parent, Taylor suggests, 'you will be outside (or can opt out of) most of those networks that are at the heart of our family-oriented society'. The 'weighty task of bringing new life into the world' is, she contends 'the most important anyone takes on'. The childless are 'out of the adult part of the loop'. She is fascinated by the examples of childless writers who used 'babyish' language with their partners and writes of other childless women who recognise her feeling of having 'not really grown up'. 'A busy work life is no permanent substitute for family or community, especially as it winds down into retirement,' she cautions at one point.
I found Taylor's honesty impressive, but would hesitate before giving the book to a childless friend. First, I suspect that some of the more aggressive pro-natalists would leap on certain passages as confirmation of their warnings about remaining child-free. The reaction to Mazur's harmless TikTok and JD Vance's dismissal of 'childless cat ladies' are examples of the vindictiveness within this movement. Those getting caught in the crossfire include those who have lost babies, struggled with fertility or finding a partner – all scenarios that Taylor acknowledges.
Second, some of her confessions can be morbid. Reflecting on the suicide of another female academic, she wonders about her own old age, and envies those who die surrounded by children and grandchildren. Within the melancholy, I also came to find her candour, and her ability to sit with ambivalence and doubt, extremely appealing. It's reflected in her willingness to end sections without a neat resolution, to leave us with troubling questions for which she refuses to provide a pat answer.
I was also impressed by her readiness to confess to past failings or misunderstandings. She admits to having found children 'rather terrifying', unsure of how to interact with them, and certain that they find her 'either boring or a little frightening'. Despite having gained an unexpected stepson later in life and expressing regret for having failed to get to know better the children of her peers, you get the sense that children will always remain a slightly mysterious, difficult 'other' to Taylor. There are stories of friendships strained by the different paths taken, of distance growing as the years pass by. At times, I found myself wanting to appeal against some of her harsher self-judgements. On a WhatsApp group with two female friends, she confesses to feeling on occasion like 'a spectre at the feast, writing rather solemnly about my adult-focused daily routine and pleasures in a way that lacks the special joy, humour and intimacy of relations with the very young'.
Her descriptions of the road not taken are nonetheless quietly amusing in their honesty, and there are moments when the joys of her child-free life come into view, including a 'wonderful' Christmas spent with her husband having a picnic of wine and chocolate on the riverbank. Ambivalence is not limited to the childless, she notes – friends with children tell her they have conflicted feelings about their own choices, and some jealousy towards her child-free state. Caution about simplistic paeans to the child-free life is balanced by an unapologetic affirmation that 'your legacy is your own life'.
As a mother of two small children, I finished the book grateful for Taylor's empathy for women across the divide. 'I may find all your family photos a bit overwhelming, but I'll help you upstairs with the baby buggy, babysit for you and also argue on your behalf with politicians,' she writes touchingly in her conclusion. Bearing in mind her observation that 'one can be a mother without having children', I detected something quite maternal about her desire to help young women 'think very hard before deciding against motherhood' and to offer her own life experiences as material to be weighed in the balance – despite knowing that this may be considered 'impertinent'.
Taylor is experienced, wise and mature, yet still open to seeking out further insight into her own choices and those of others. I was struck by her decision to quote from the cartoonist Tim Kreider, who has suggested that the childless constitute 'a kind of existential vanguard, forced by our own choices to face the naked question of existence with few illusions, or at least fewer consolations… forced to prove to ourselves anew every day that extinction does not negate meaning'. Taylor exemplifies this sort of forensic, fearless thinking, offered in a spirit of generosity to future generations.
Childless by Choice: The Meaning and Legacy of a Childfree Life
Helen Taylor
Whitefox, 256pp, £16.99
[See also: Oasis are the greatest Irish band of all time]
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We live on a newbuild estate and we love our pigeon pen identical gardens... builders mocking them are two-faced
We live on a newbuild estate and we love our pigeon pen identical gardens... builders mocking them are two-faced

Daily Mail​

time7 hours ago

  • Daily Mail​

We live on a newbuild estate and we love our pigeon pen identical gardens... builders mocking them are two-faced

Homeowners on a newbuild estate have hit back at a TikTok-posting builder for calling their identikit gardens 'absolutely diabolical'. Outspoken Dan Hinton's videos of 'awful' homes and gardens have gone viral, clocking up millions of views and comments. He told the Daily Mail: 'They are very boggy, they do not drain properly, and I hear a lot of stories from people saying they put the rubbish under the bloody grass. 'Do not get me started on who the hell designs them because the shapes I see and the size of some is madness.' But the newbuild nemises has upset and angered people living on the estates he worked on and they have accused him of being 'two-faced' and 'offensive'. One man, who moved into his home only six weeks ago, said: 'He's just nitpicking. 'Yes, the gardens might look a bit like pigeon pens being small and enclosed by high fences but they serve a purpose, offering us privacy and security, and that matters.' The grandad, who declined to be named, but invited the Daily Mail into his garden to view his six-feet high fence and surrounding properties, said: 'I think he is being unfair. 'How can he have the audacity to criticise new builds that developers have designed and he has been working on but not living in himself. He has no right and he's not a resident. 'It is poor judgement but maybe he is doing it for clicks online.' The row has ensued after married father-of-two Mr Hinton, 33, recently sent out a warning to families after sharing pictures of identikit gardens on TikTok. He blasted the state of new build homes and accusing developers of 'throwing them up' and vowed he was on a mission to 'show people what they are like.' He has worked worked on new builds across the West Midlands in Lawley, Priorslee, Crudgington, Alscot, and Donnington. We visited one of the half dozen sites he spotlighted in Piroslee on the outskirts of Telford, Shropshire. The grandfather living happily on Avant Homes Monkswood estate told how he and his wife enjoyed living in the community, which is still under development. He said: 'We love it to bits. We only moved oil six weeks ago and we think we've got one of the best plots. It's the one we wanted. The three-bed redbrick semi, costing £230,000, is on the top of a slight hill and overlooks on one side trees and greener. Pointing to the view, the happy home owner said: 'We're on a bit of a hill up here, which does get a bit windy, but we have lovely scenery at the front. 'There is going to build a phase two development but it will be in fields across the other side of the trees so we'll not even see.' He felt it was unfair and rude of Mr Hinton slamming some new builds for having 'sub standard gardens' with too high and same coloured fences - with captions on his video stating: 'Can't believe they do this.' The man said: 'Yes, they're all very similar but that's the look of a new build estate. 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His clips captioned 'Can't believe they do this' and 'State of this!' have notched up millions of views. His videos depict tens of rows of immaculate wooden-fenced, astro-turf laid builds with yellow paving patios slabs backing onto one another, with the captions 'What's gone through their head here?' and 'Another new build - shame about the gardens!'

Monastic music that survived Henry VIII's dissolution brought back to life
Monastic music that survived Henry VIII's dissolution brought back to life

The Guardian

time13 hours ago

  • The Guardian

Monastic music that survived Henry VIII's dissolution brought back to life

Almost five centuries ago a community of monks in the West Country of England gathered to sing, imploring their God to help them endure the challenges of medieval life. Thanks to an extraordinary discovery of music that survived Henry VIII's dissolution of the monasteries in the early 16th century, the songs created by the Buckland Abbey monks were ringing out again across the hills and woods of the Tavy valley in Devon this weekend. The themes are heavy – the threats from disease and crop failures, not to mention powerful rulers – but the polyphonic style is bright and joyful, a contrast to the sort of mournful chants most associated with monks. 'It's an extraordinary rich, textured sound,' said Prof James Clark, a University of Exeter historian, as the university's chapel choir rehearsed at Buckland. 'They're all singing together but following different melodies. It's a sort of melodious cacophony of sound.' Clark found the music while researching Buckland Abbey for the National Trust. Only one book – rather boringly setting out the customs the monks followed – was known to exist, held in the British Library. 'I didn't hold out a great deal of hope it would suddenly open up the lost world of Buckland Abbey,' said Clark. But in the back of the Buckland Book, he came across some leaves of parchment. 'Those leaves contained pieces of chant – text and notation. Though there were 800-plus monasteries in medieval England, you can count almost on one hand pieces of music that survived. 'The Tudor state scrapped Latin worship and the lyrics and music that went with it were largely discarded. Most of this stuff is lost. But there it was, shoved into the back of the book.' The bulk of the book was written in the 15th century but Clark was able to date the music to the early 16th century. 'That made it especially exciting because it transports us to that last generation of monks of the medieval English tradition that had been there for a millennium,' he said. It chimed with another Buckland document from the same era. 'By extraordinary serendipity, it turned out to be the contract for the employment of an organist and choirmaster.' His name was Robert Derkeham, and he would have been hired to improve the singing of the dozen monks who lived at Buckland and the local boys brought in to sing the treble parts. Clark said it was clear that, as well as worshipping God, the monastery was trying to impress patrons by creating wonderful music. 'Monasteries were competing in a very crowded marketplace for investment from patrons,' he said. 'One of the strategies was to upgrade the music. Buckland bought in expertise to turn what may have been a rather ragged choir into something more professional. They were being responsive to cultural change, keeping up with the times and impress their audience.' Derkeham remained at the monastery for more than 15 years, until it was closed and he was pensioned off. Clark said the text was dark. 'It is calling out to what we might call an Old Testament God. One calls out to God to defend his people; one says, 'stay the hand of the avenging angel'; one talks about being in despair. 'I like that sense that it carries us back to a moment in time. In our world, medieval religion is becoming ever more difficult for us to grasp. I think this helps us return to an understanding that it was a sensory experience,' said Clark. 'If we're going to do these people who died 500 years ago some sort of justice as historians, we've got to understand the world as they saw it and as experienced it.' The book has been loaned to Buckland by the British Library and can be viewed at the abbey. The University of Exeter Chapel Choir will perform the music live in Buckland Abbey's medieval Great Barn on 16 and 17 August.

‘Chronic' under-performance of boys at GCSE should be treated as major issue
‘Chronic' under-performance of boys at GCSE should be treated as major issue

South Wales Guardian

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  • South Wales Guardian

‘Chronic' under-performance of boys at GCSE should be treated as major issue

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