Thursday, February 28, 2013

When a Bough Breaks

A suburban playground on a cold winter’s day. A man in his early 30s, wearing a beanie, leather jacket and scarf, pushes a toddler on a swing, a dead look in his eyes. On the climbing frame, twins are jostling each other. Their mother stands underneath, hopping from foot to foot, her eyes darting from one girl to the next, issuing warnings, instructions; her voice rises anxiously in pitch. Looking around, I see only one adult smiling, but then she’s talking to her friend; their children are some way off, fighting each other with sticks.

There’s nothing particularly striking here. It could be any day of the week, in any town. And there’s nothing revelatory about the thought of parents secretly wishing they were anywhere else but the local playground, perhaps envying their childless friends; even wondering, during the sleepless nights, or in the aftermath of a fight with a recalcitrant teenager, why they had children at all. What is distinctive of our times is how few parents — still, even in our post-Freudian age — will openly admit to feelings of ambivalence towards their children. In an age where very little — from sex to money — is left a mystery, parental ambivalence remains one of the last taboos. (...)

But first, some definitions. In modern usage, ambivalence is often taken to mean having mixed feelings about something or someone. This, though, is a watering down of the concept. As developed by psychoanalysis, ambivalence refers to the fact that, in a single impulse, we can feel love and hate for the same person. It’s a potent, unpalatable idea; and in the grip of intense ambivalence we can feel overwhelmed and confused, as if a vicious civil war is underway inside us: no wonder we’d rather render it toothless. And yet, as any honest parent will tell you, this is often how it feels. Speak of it, though — as Lionel Shriver did in We Need to Talk About Kevin (2003), where Eva, the novel’s narrator, openly admits to deeply ambivalent feelings about her son Kevin — and you will face criticism, even ostracism, from those who would rather not believe that parents can ever harbour such feelings. The problem with Eva, of course, was not that she had ambivalent feelings towards her son, but that she dissembled throughout Kevin’s upbringing, pretending, through all her frantic biscuit-making, that all she felt for her cold, unlikeable son was love.

The question is why she, like so many parents, found it so hard to acknowledge her ambivalence, even to herself. Part of the reason must be that we all know — even if we’re not abreast of current statistics — that we live in a society in which shockingly high levels of violence are inflicted on children. According to the National Society for the Prevention of Cruelty to Children, one in four young adults is ‘severely maltreated’ during childhood, whether in the form of sexual, emotional, physical abuse or neglect. It’s a startlingly high figure, by anyone’s reckoning. And, if we acknowledge that we, too, sometimes have less than loving feelings towards our children; if we, too, sometimes have the wish to hurt, even if we are able to restrain ourselves, then does this mean that we too could be abusers? (...)

The paediatrician and psychoanalyst Donald Winnicott, who spent a lifetime working with children and families, understood why the scales of ambivalence might tip more towards hate than love. The baby, he wrote, ‘is a danger to her body in pregnancy and at birth’, he ‘is an interference with her private life’ and he ‘is ruthless, treats her as scum, an unpaid servant, a slave’. He ‘shows disillusionment about her’, he ‘refuses her good food… but eats well with his aunt’; then, having ‘got what he wants he throws her away like orange peel’. He ‘tries to hurt her’, and, ‘after an awful morning with him she goes out, and he smiles at a stranger, who says: “Isn’t he sweet?”’

And then there is the effect of the arrival of a third party — however planned and wished for — on a couple’s relationship. Nora Ephron, who wrote When Harry Met Sally… (1989), saw it explosively: the birth of a baby, she once said, was like ‘throwing a hand grenade into a marriage’. Lionel Shriver’s mother felt similarly, warning the author, then in her mid-30s and newly in love, that, should she and her partner decide to have a child, motherhood would ‘completely transform’ their relationship. ‘Though she did not spell it out,’ Shriver has written, ‘there was no question that she meant for the worse’. And yet many couples, finding themselves drifting apart, or fighting, opt to have a baby (or another baby) in the belief that this joint creation will restore their lost unity.

Fortunately, societal expectations are changing, albeit slowly. The feminist movement of the 1960s — typified by such books as Betty Friedan’s The Feminine Mystique (1963) — overturned long-held received wisdoms that designated motherhood (in the words of the social researcher Mary Georgina Boulton) as ‘intrinsically rewarding and not problematic’ and refocused attention on women’s actual experience of motherhood. Even so, Friedan set the blame for maternal ambivalence at society’s door, rather than acknowledging that, like paternal ambivalence, the very essence of the maternal role is contradictory, and the feelings roused in parents are equally powerful and often confusing.

Even now, when 21st-century mothers admit to ambivalence, as Rachel Cusk bravely did in her memoir A Life’s Work (2001), they are attacked as irresponsible, even unfit to be parents. And so we continue to enter parenthood blindly, relieved and proud that our genes will survive, and oblivious to the unrelenting demands ahead, or that we have unwittingly signed up for a job for life, with no training, pay, prospect of sabbatical leave, change of career or get-out clause. It’s a job that will require endless investment and patience and, if all doesn’t go too badly, one in which we are finally made redundant. Of course there are rewards, but these come fitfully and often when we least expect them.

by Edward Marriott, Aeon | Read more:
Illustration by Frank Adams