Cartoon Squirrels: Why Kids’ TV is Where Feminism Goes to Die

We’ve got into a pretty bad habit with the TV this year. It’s a slippery slope: first only weekends, then a little at midday to let me make lunch in peace, then before we know it were having to hide the cables to stop them switching it on day and night. In between beating myself up for sacrificing my crunchy ideals, it’s providing quite a lot of food for thought.
One thing I’ve noticed about children’s cartoons in recent years is that the heroes and heroines of the stories succeed because they have either supernatural powers or magical creatures to help them. I’m starting to get the feeling that this doesn’t give a very good example of succeeding in the world, in which we have to rely on our own wits and a bit of luck to get by. I happen to love the fantasy genre, but the problem I find with it is that they don’t show children using their own innate abilities to solve problems to defeat baddies. Insane as it sounds, I’m actually feeling nostalgic for the Famous Five.
If you look at, for example, Pokémon, Doraemon, Mini Mighty Kids, Ben 10, Monsters Vs Aliens, Shimmer and Shine (thanks for trying to represent Indians, but no thanks), PJ Masks, The Miraculous Ladybug, Star Versus the Forces of Evil, Danger Mouse, any of the Marvel characters, King Fu Panda (who uses Chi in pretty magical ways), the Mickey Mouse Clubhouse, or practically any of the cartoons out there, the protagonists either use magical powers (which are usually exclusive to a few characters) or have magical beings that help them to succeed.
So kids watching these programs are repeatedly given the impression that if you want to defeat your demons, you need to have magic on your side. And once the show’s over, the TV off, and the disbelief no longer suspended, the sensation of impotence – already a sticking point for most kids – the feeling of being too small and weak to be able to have a positive effect in the world floods back in full force.
The shows that don’t involve magic are all protagonised by animals (Sherlock Yak, Bing, The Octonauts, Peppa Pig – who solves everything by jumping up and down in muddy puddles). One of the few programmes I can think of that show the protagonist using their own skills and ingenuity to solve problems is Barbie: Life in the Dreamhouse. In order to succeed, you just need to be white, blonde, six foot three with a waist the exact diameter of a chopstick, and have the privilege of fame, fortune, and wardrobe so vast you need to ride a horse to get to the other end of it.
Please don’t get me started on this show. The fact that the bitchy frenemy is a vaguely Mexican brunette called Raquel makes me start wondering if the alt-right funded it.
Which brings us to the representation of girls. Even more oh dear. Count the number of female puppies in Paw Patrol (1, occasionally 2 when they call on Everest with her snowmobile, to 6 male), you start to get royally pissed off with cartoon developers. Add the hapless mayoress (who, in a backfiring attempt to appear representative, is black), and the doe-eyed blonde pet pampering parlour girl, and you need to check your blood pressure. See also Superwings, where the only female superhero (among a bunch of, er, talking aeroplanes) is pink, annoying, and called Ditzy. Bob the Builder has a female sidekick who actually wears overalls (phew!) but only one ‘female’ machine, called Dizzy. Any more stereotypes of girls they want to throw in there?
This might sound like so much point scoring, but these images are etched deeply in kids’ minds. Story is a mirror in which we see ourselves reflected – and if the mirror is warped, so is our self image. My daughter invariably says “I’m her!” about female characters in cartoons. Her favourites are the Mini Mighty Kids, in which animal characters find their flaws turn into superpowers; The Miraculous Ladybug, which features one of the most powerful female characters on kids’ TV, but still relies on magical powers; and Elena of Avalor, which at least portrays a kick-ass Latina princess, but one who needs to use flying jaguars to get around. Sophia the First is a car crash of elitist values with a sprinkling of magic.
The trouble is that when powerful, successful female characters are still a minority in cartoons, the message they put across is that these women are the exception that proves the rule.
The only cartoons that subvert the whole magic-will-solve-all-my-problems are either too grownup for kids to understand (like the Simpsons) or totally surreal ones like Spongebob Squarepants (which, weirdly enough, is a lot better dubbed into Spanish). But even then the only regular female character, who is luckily just as quixotic and silly as the others, is a squirrel in an air suit. Forget female power figures for a minute, do we have to be so divorced from reality to accept a girl who is just as inane as a boy? Gender Equality for Nutters!
I don’t want to underestimate children’s ability to escape into fantasy, or the benefit it gives them to dress up or use toys to imagine they’re someone (or something) else. Imagination is absolutely vital for so many areas of adult life, not only creativity (useful in business, everyday problem-solving, cooking with random fridge items…) but also in compassion. How can you have empathy for others if you can’t imagine yourself in their shoes? I would even argue that the root of extremism and literalism in religion is a total lack of imagination out of fear that it leads the pious soul astray. Bring back art, bring back free creative thought, and extremism is banished like mound from the underside of a leaky sink.
Fairy tales worked on archetypes, so the knight in shining armour defeating the dragon to rescue the fair maiden and live happily ever after isn’t a literal narrative of an actual male rescuing an actual female, but of the ‘masculine’ element in any person (representing self-sacrifice, valour, strength) overcoming their demons and liberating their ‘feminine’ element (beauty, grace, kindness, gentleness, wisdom) and the two sides of the self being united.
Folktales don’t have the visceral detail of modern cartoons, particularly CG animation movies. The child’s imagination is left to wander freely, and while they might play act being knight and princess, the message is a much simpler one, imprinted in a much less literal way.
Some Hans Christian Andersen stories were rewritten in modern retellings to make the girls more pathetic. In the original version of The Little Mermaid, the mermaid doesn’t get the prince; he falls for another princess, and even though she has the opportunity to kill him with the sea witch’s stone knife in order to recover her mermaid body and 200 year life span, she throws the knife into the sea and herself after it. Expecting to turn to sea foam (as mermaids do when they die, didn’t you know?), she is surprised to find she doesn’t; hearing musical voices above, she is taken up by the ‘Daughters of the Air’, mermaids who sacrificed themselves for others and earned another 200 years in which to bring fresh, healing winds to people around the world, after which they earn themselves an immortal soul and go to heaven.
Then again, sometimes original versions needed to be, er, edited: in her first incarnation, Sleeping Beauty doesn’t wake up when the prince finds and kisses her. Feeling rather put out that he’s come all this way for nothing, he rapes her and leaves her still asleep, and it’s the sound of her baby crying when she gives birth that provides her rude awakening. A moral tale warning girls not to trust old women lest they get raped by strangers in their sleep? Not sure how to interpret that one.
Cartoons that revive traditional folktales can actually tap into their subconscious messages while layering on more direct, modern meanings about girls, and kids in general. Moana came close to being a politically correct film, attacking male chauvinism in the form of the narcissistic demigod Maui, and placing a girl as the plucky heroine – and, indeed, a female as the great villain AND source of life. The entire cast (the humans, at least) were indigenous, and the only voice talent that wasn’t native Polynesian was a brainless chicken. Disney has come a long way since Pocahontas, it’s got to be said.
Other films that consistently show girls as beings who know their own mind and aren’t batting their eyelashes to persuade people to do things for them are those by Hayao Miyazaki. Although it’s one of my all-time favourite flicks, I haven’t shown my kids Spirited Away yet; the vile monsters that appear in their CG animated cartoons aren’t anywhere near as frightening as No Face in my opinion, the way that the Mexican folk tale La Llorona still gives me the shivers – something to do with the archetypal fears these stories tap into. But Howl’s Moving Castle and Laputa, Castle in the Sky were right up their street, with just as many thoughtful, intelligent, brave female characters as male, and just as many female baddies as male ones.
In an ideal world we wouldn’t have to police the numbers of male and female characters, or those of minorities; we should be able to let our imaginations run wild with the palette of human existence without forcing anything. The trouble is that we are all carrying around a load of prejudices, positive and negative, that are at work even when we aren’t conscious of them. So until we are free of bias, which is unlikely to ever happen entirely, we need to reverse engineer stories to unpick their meta narratives.
Meanwhile, what can we do about the sorry state of stories? Write better ones. Stories that weave the archetypes of old into contemporary settings with positive portrayals of girls and minorities. I have one brewing myself, so I shall stop ranting and get on with it…ask me how I’m getting on with it so I don’t slack off!

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Chromatography

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The lowest arms of the almond tree
hang scrawny, leafless, dark:
a reminder of winter.

I take off my paper sun hat
sweating (why did I wear black?)
sun bleached by a thin cloud veil
pushing the sleeping baby uphill,
4.30pm, July.

He’s poured water over a scarf that
I’ve arranged to shade him
and my red wool bag strap
bleeds pink into the blue.

His muscular eyebrows furrow
beneath dirty blond curls, the boy who was
dreamt of being welcomed by the arms of his
long-departed grandmother
in a Persian aunt’s sleeping head.

“Let us see your hair,” they had urged me;
“Is it real, the colour? Can we touch it?”

I grinned painfully, was their doll for a while,
let them thread my puny brows,
ruthlessly devoid forehead and top lip
of hairs only Iranian women can see.

We European women have been liberated of
facial hair!
I cried inwardly, eyes watering
with each every rip.

(She did do an excellent job.
My eyebrows, in dye, came alive.)

In the women’ section of the bus in Tehran
girls in school uniform laughed
still too pubescent to be allowed
the monthly ritual of a trip to the salon
their black brows luscious and combed
combined with blood red lips.

We got off a speeding fine
en route to Isfahan
because of the “khariji” guests
in the car: the free pass
that Europe grants
and who would rather pay?

“Pesar-e-khariji-e-man!”
“He’s so cute and blond,
he looks just like you!”

My husband says I’m his amulet,
lucky charm in official places,
a signal that he’s a
Middle Eastern Man Done Good.

But there is a ruefulness to his good fortune:
they glare at him like a shopkeeper at a thief.
He asks me not to wear a headscarf
lest they think he’s forced me.

Greedily, I seek out our son’s Asian features
glowing to think he’s struck out from
pork scratching pink
the pasty British skin on
a nose they’ve chosen to
sever from the face of the continent
forgetting the Viking, Saxon, Norman,
Roman and yet more exotic genes.

“¡Qué blanquito!”
How they praise him
for his pallour
to his caramel father’s ears.

A talisman. Not powerful enough to
stop the waiter snubbing his order
sneering at his polite reminder
or when, at the police commissary,
trying to fix my residency
after six years as an illegal American
always treated as though I belong
the Spanish official barked at him
for his papers – in order since a decade ago –
checked them on the system, tossed
the card back without meeting his eye.

(If they only knew
what a nightmare I am to live with
they would see he is my talisman, his patience
my salvation.)

We need to raise colour blind kids!
I rant silently on insomniac nights.
Those of us at the top of this
pyramid of privilege
didn’t rise here because of the
buoyancy of our merit:
our forebears clawed their way up
trampling millions of black and brown backs
and no-one else can rise until we step down because
we are taking up space!

Wash your feet honey:
they’re black with dirt.

Malaga is easy to fly through, I say.
Not for me, says she – they always make me
show under my skirt, my hijab.
Oh! Really? That’s outrageous!
But, you know, she says, drawing a circle
with one finger around her face,
wry Somali smile.

I don’t wear hijab through airports.
Am I being practical, or cowardly?
Would I beat out every last bandit
every ugly, self-congratulating thought
expose their emptiness as
phantom confidences
if I put myself in the same
rocking, overcrowded boat
with the flimsy life jackets
and the leaking hold?

We reach my parents’ house
forbidding black gates,
cornflower blue door.

Beside is a bougainvillea
bursting alternately with
deep fuchsia and
palest green lanterns.

Inside the summerhouse
the dark wood stain has bled through knots
forming irrevocable pools on the blond wood.

“Make me a new sandwich!”
“I took out the avocado…”
“But there’s still a stain
on the bread!”

My daughter is fuming, tearful;
a veil of reddish clay lies over her face
wiped unthinkingly at craft time earlier
and two tears have dried
leaving pale tracks with brown outlines.

Clean your face, honey,
your tears have run brown.

Every story is edited at bedtime,
the blackness accidental, not evil
the lily white princess made ruddy and tanned
her long golden hair darkened
water babies not just cherubic because they’ve been
washed of all that terrible oafish soot but
pure of heart and soul.

At the Jumu’ah meal she asks,
Are angels white?
With exquisite Senegalese women on all sides
I answer, no, they’re made of pure light:
light is all of the colors put together.

But science won’t stop her from thinking it.

Our heads need cleaning! I declaim silently
All these messages upon messages
that make us look down on others!

Black is beautiful. Brown is gorgeous.
Look at her style.

Sweetie, I can’t explain I why,
walls just look better white.

The kids splash my notebook
and the turqouise ink splits
inexplicably to vivid pink

I write my second draft
in indelible black.

Lone Wolves

Running is falling when fear’s at your heels
Good men turn lone wolves in failure’s mirror
It’s safe on the hills but one day they’ll ask

Where he was when mama cried while she cooked
Until shocks ran from the hob to her heart?
Running is falling when fear’s at your heels

Spears are flung stupidly like porcupine
quills, harming backwards with poisonous ends
It’s safe on the hills but one day they’ll ask

Mothers’ arms become safety nests for the fled
Too necessary to crack with their weight
Running is falling when fear’s at your heels

In discomfort we are loved to an ache
There is bliss in being their world, and risk
It’s safe on the hills but one day they’ll ask

The glitter of pristine snow was no lure
Hot coals of their need of him singed him raw
Running is falling when fear’s at your heels
It’s safe on the hills but one day they’ll ask

Like Gardener’s Hands on Silk

I am all elbows
leaning on ledges
strangers’ shoulders
eyelids falling involuntarily
after nights fractured
by screams as gums are
lacerated slowly by
a knife tip tooth

My corners catch on everyone
like gardener’s hands on silk
bunions build up on my edges
myelin thickens to muffle nerves
and stiffens my walk to a
peg doll pace
so I cease to bend
and instead
start to
cr
ack

How can a woman come apart
– limbs popped out like a doll
in the inquisitive hands of a 5 year old –
and drag the pieces along by
fibres of some unearthly substance
below the threshold of her vision
whereby lunches occur in spite of her
beans falling out of the ceiling
into pans that manoeuvre themselves
onto the stove
loo roll replenishes itself
the baby picks up crumbs and helpfully eats them
crayons roll off the edges of the floor
into holes that return them to their place
like balls under a pool table
bread grows back from crusts
rugs stretch out like a man in bed
teabags multiply in hollow boxes
the emptiness inside cupboards
solidifies into the shapes of
jam jars and pasta twirls

If children can meet on Minecraft
and throw ocelots at zombies
while being safe
in their pyjamas on the sofa
surely I can
make magic too.

Rewild the Child (no Rewiring Required)

A quick thought while the baby is asleep in the sling…

It’s an ongoing thing for most of the mothers I know, the complaint that ‘my kids just don’t know how to play’. The blame usually gets put at the feet of gadgets, things that can be used to while away long hours on planes (those rubbery iPad covers with alien-like protuberances so kids can play car games spring to mind) or car journeys, or sitting in dentist’s waiting rooms, or just hanging out at home. The 3 month Spanish summer holidays are looming and the thought is troubling me as to what my kids will get up to all that time.

When there’s no toys or electronics to play with, any length of time seems unbearable; one friend recounted how her son (9 y.o.) had a tantrum at the thought of a 40-minute wait in an office yesterday, but once he’d finally accepted the reality of it he calmed down and waited patiently. It was the idea of having ‘nothing to do’ in all that time that freaked him out initially. “We used to be able to wait for much longer!” she recalled, “We didn’t need stuff to play with…we’d just play.”

http://www.theguardian.com/commentisfree/video/2015/apr/08/time-to-rewild-your-child-george-monbiot-video?CMP=fb_gu

Another contact, a city planner, gave a great resumé of how kids aren’t really able to play ‘wild’ as most of us used to do when we were kids: ‘Urbanist Enrique Peñelosa once said “The measure of a good city is one where a child on a tricycle or bicycle can safely go anywhere. If a city is good for children, it will be good for everyone else. Over the last 80 years we have been making cities much more for car mobility than for children’s happiness.” And that’s the crux of it, cities are built for cars, not kids/people.’

Although I get a lot of ‘Muuuum…I’m bored” at our house, I’m relieved and delighted whenever I see my kids playing (always with other kids, or at the very least with each other) without anything in the way, not even a swing or a roundabout. Creative types often comment that boredom was essential to the development of their art when they were children. I’ll rehash an old theme by saying the same’s true for me: I grew up in a couple of small villages where I did a lot of reading, making up stories, fiddling about on the guitar and just daydreaming.

Visiting my son’s old Waldorf school recently, which has moved (strangely enough) to my parent’s old house, I noticed a breeze block with a large piece of wood on top in the garden. The teacher commented that they don’t put anything to play on in the yard so that the kids will invent things: the wood and brick were put there by the kids to balance on. In another corner was a teepee made of bamboo. Kind of cool, don’t you think?

What it really comes down to, and what makes me sad when my kids pester me for Lego et al (it’s been birthday week…always the cue for weeks of pre-emptive materialistic preoccupation) is that we’ve become so accustomed to seeking happiness outside of ourselves, in an object, a phone, a toy…even another person. Playing with friends isn’t deriving happiness exclusively from them – it’s finding it emerges spontaenously from the alchemy of toegtherness.

We were at the plaza yesterday for a reading of Don Quixote in 30 languages (the most exotic being Mongolian), Cavegirl buddied up with some English kids who were playing by some rocks, pretending it was a kitchen, and I was warmed by the thought that imaginaton isn’t dead, and kids’ society is still capable of pulling out fantastical games from the ether. Innocence isn’t dead; we just need to have the space sans gizmos, to remember it. That’s a comfort.

Two States

Two states compete
for my longing:
one, a room for living in with wood fire
burning behind smudged glass
a heap of books, some open
wet socks hung on the back of a chair
a bowl of fruit, some cut and not yet brown
shoes toed off and left at irreverent angles
something humming in a corner,
processing dried fruit or data and
even when the room is empty of people
it is thrumming with the echo of them.

The other is wall to wall cabinets
neatly closed, dust-free,
windows freshly Windexed
a bank of new steel iMacs
working glitchlessly
leather seats arranged to look casual
but there are no crescents of coffee
on the coffee table or
crumbs on the geometric rug
no scratches on the wooden floor
or piles of dry clothes to fold
no glasses waiting smearily
to be washed up.
A fug of central heating
closes throats to a polite silence. No ash!
Double glazing drowns out
the noise of the neighbour’s dog;
here one can concentrate
there are no cobwebs to sigh over
or interruptions by small children
thumping each other over felt tip pens
behind the cabinet doors are
stationery supplies to last
’til kingdom come
fresh orders of necessities
have been made weeks in advance
for there is no chaos here to hinder
business, no boring list of frets
to get on top of before projects
can fructify. This orchard
only yields polished apples
red and round
without pockmark or warp
grown under supervision
under daylight lamps
to industry standards.

The latter is where a half a million
is small change, where minds
boil and brew great schemes
reach nebular heights
dynamic people drop in
to ping ideas about
and everything occurs on time.

The former, though, is the only place
my mind will sink its toes
into soft soil, send down
taproots that drink from
hidden aquifers
and while my hands are
pairing socks
cutting paper snowflakes
making tea stains on the table
the real business is happening
on another schedule, one that
sees a calendar like any other piece of
earth-to-be
and gives misshapen fruits
that fall and lie embedded in nettles
edible gemstones
the ore of that ground called home.

The only guarantee
it gives me is that
nothing will be perfect
(at least I can’t be disappointed);
here the products hug me back
leave me love notes in scrambled English
and the day they leave
and my rug goes for weeks with
no hint of a crumb
I might finally get something done
if I can only stop myself
from spending all day blinking
in surprise at the quiet
and missing the mess.

The Night A Thief Showed Me Freedom

We were at a restaurant in Soho, one of those brightly-lit places with stylish wallpaper that lures designers and their ilk into this grimy crease on London’s streetmap, in which creep junkies, tourists in sunhats, reckless rickshaw riders, jazz joints and telephone boxes so filthy they make you clutch your mobile like a prayer book.

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S and I had been friends back in sixth form; she was about the only person I’d stayed in touch with since then, and had later moved to London herself to work. There is always something slightly giddy about meeting up with old friends. Each successive year intensifies the conversation you eventually have, compressing the changes into a solid mass, studded with events.

For my part (I’ll let her tell her own), I’d had my second child, got divorced, and fallen in love. See what I mean? So much upheaval and transformation – both painful and wonderful – condensed into one sentence. What is even more amazing is that after those potent little phrases pop out, with the shock and laughter that ensue, it feels like you can talk about anything, fluidly, easily. The stopper is wrenched off and the most intimate information pours out.

So engaged we must have been in our conversation that when it came to pay the bill, and I discovered a dusty corner where my bag should have been – right beneath my feet – I realised that it could have been an hour before that a thief had sneaked in the door and somehow (“Perhaps they used a crutch”, the policeman suggested afterwards) made off with my shoulder bag. It was a busy night. Soho is like that. The consolation, at the time, was that the restaurant owner said she’d let us off the bill.

We walked S’s bike, ticking, through the throngs of people getting progressively more smashed until we found a police station – checking the bins, fruitlessly, along the way, in case the thief had dumped the important stuff (i.e. my passport).

The police station was just closing up as we arrived, but an earnest, shortish man in uniform led us down to the basement where the graveyard shift was coming to life in order to make the report. Oh, that basement. If the theft alone wasn’t enough to deter me from visiting Soho again at night, the photos of criminals papering the walls along with details of what they were wanted for (dangerous dogs, rape, drug dealing, arson, assault, prostitution, mugging…) certainly would.

But like the dramas of the recent past that we had just been pondering over our wild mushroom risottos, this little drama, in comparison, was quite hilariously small. The immediacy of it brought our patience and good humour out in their most rarified forms. We must have sat for nearly an hour in that bunker of criminal terrors, listening to the amiable banter of the other policemen and being offered berry-flavoured tea, before strolling out – me significantly less encumbered – into the crisp night air.

The risotto may or may not have looked like this one. This risotto is an actor to protect the identity of the risotto eaten on the night of the alleged robbery.

The risotto may or may not have looked like this one. This risotto is an actor to protect the identity of the risotto eaten on the night of the alleged robbery.

I remember it as being a summer night, but logically it must have been sometime in April. Yet the sense of lightness was pervasive and strong. It spread to my feet, which still had their shoes on; to my hands, which were now freed to swing about instead of anxiously clutching at a bag full of important documents; to my head, mercifully still not processing all the boring bureaucratic details of getting an emergency passport in the two days I had before my flight back to Spain.

In a strange sort of way, moments like these make me happy to be unfortunate. Crises are never so critical when you take away the stress of thinking about them. It’s just another situation that need to be dealt with, like mopping up a spilt juice or lump of porridge thrown by a toddler exercising her triceps.

Generosity surfaces when a friend is in trouble, too. I borrowed S’s phone to call ahead, and she lent me her Oyster card with just enough on it to get where I needed to go. (Thankyou S!) Then a friend of a friend, who I’d never met, came to meet me at the Tube station. I suppose it was hard to mistake the one person getting off the train without any personal belongings.

What made it all the more blissful was arriving at a Sufi gathering among delightful people, singing and drinking tea and eating Turkish delight into the wee hours. I had sailed from central London to the outskirts, to a dark recess of Tottenham, constantly amazed at how little I had to worry about now that everything had gone. What else could anyone take?

That was when I realised how much of a strain it is having objects, possessions, and especially gadgets, most of which are supposedly meant to make life easier.

How much more stressful is life when you are constantly having to check beeping machines dangling from your person? Or clutching at bags containing collections of mainly useless things in case someone makes off with them, wanting the two or three useful bits and throwing the rest away? How much grief is spared when those scenarios are not imaginatively played out, recurrently, like scenes from a bad, made-for-TV film in which the actors aren’t getting paid? (See this previous post for more on that.)

And once I was reunited with my kids a few days later, my secondary realisation was that I spent a lot of my time with them in much the same way as I had been attending to my supposedly helpful possessions. “Oh, my son just beeped” – “I think she’s running out of batteries, better get home and put her on charge” – “WHERE ARE MY – oh, there they are” etc. etc.

There is so much unnecessary anxiety surrounding possession. Once you bust the notion that anything is actually yours in the first place – especially a human being – then the issue becomes more one of maintenance. There are steps needed to be taken to get from situation A (passport stolen/kitchen window broken/someone on my car seat) to situation B (emergency passport is reissued/kitchen window is fixed/car seat is clean). It ends up getting done at some point. The steps involved aren’t that painful, really.

The stress in the middle comes from believing that something is YOUR PROPERTY, and therefore you should get enraged or upset when something happens to it. If, instead of freaking out when ‘something goes wrong’, you pause and consider that nobody is dead (unless they actually are – in which case there’s not much you can do anyway), and everything passes, including horrible family moments involving swearwords, spitting, hitting, excluding, crying, breaking toys, slamming doors and all the rest, then it is easier to feel free.

It is genuinely possible to be a mother and shrug your shoulders when someone has a minor wound, and even to discipline the offending child while remaining calm and practical. I have seen it happen. It sounds out of this world, but it is true.

My usual reaction, on the other hand, is to yell. Or groan. But – and here’s where the patient, non-attached mother has a better time of it – if you can pause and observe dispassionately, is having a hissy fit really going to achieve anything? Generally it does little more than cause headaches, give me a sore throat, deepen frown lines, hurt little ears and send kids into a sulk.

More to the point, though, what is causing that volcanic feeling in the first place? POSSESSION. IT’S MINE. In the case of having a mum-fit, THE FAMILY AMBIENCE IS MINE. I have envisaged it, read dozens of parenting books, and spent years cultivating it. Therefore, IT IS MINE. When it all goes pear-shaped, something has been stolen from me. I have lost control. The image of a perfect family that I have been dreaming of is gone, and now I am clutching after it as if it were a phantom purse, recently snatched by a serial scumbag.

As confessionals go, this might not be so enjoyable to read – especially if you hear yourself shrieking at your kids frequently, or saying incriminating thing your parents used to say to you. The good news is this: THERE IS FREEDOM AT THE OTHER END OF THE CRISIS.

When our baggage is too heavy, we instinctively want to rid ourselves of it – and sometimes it’ll break a few greenhouse windows as it goes down. But there is lightness, too, and that is the important thing. Detaching yourself from the concepts of who or how your kids (or you) should be creates room in your being for a lot of joy. That makes for a much more beautiful experience of parenthood, and of life.

In short, travel light. It’s not worth paying the lockers along the way.