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Despite the many freedoms won by women and by men particularly in the last forty years or so, what is more surprising than anything else is how conservative Britain has turned out to be. True, the work excludes factors such as race and ethnicity as well as immigration and the impact these may have had on the overall figures, but despite everything, to a degree, the traditional behaviours of marriage hold good to a great extent.
Before anyone should think that I am a supporter of this conservative picture, let me assure readers that I am not. While I think that the study here is a good one, I also am of the belief that the notion of a traditional family is an artificial construct which does not have real meaning.
For instance, it is only about 150 years agao roughly speaking that women were considered to be mere chattels once they became married or put it another way, what is mine is mine and what is hers (including her) is mine too.Female sexuality was under male control as was reproduction. Divorce laws were changed such that women could divorce their husbands. The point here is that this artifact of the family, far from it being something to aspire to has been endowed with a mythological significance which cannot be supported. The breadwinning husband is a construct to, denying women the right to work and the right to financial independence. The conclusion I draw from this is that diversity is good and that all men and women should be free to make their own choices.
I find that the conservatives of all parties who purport to produce evidence to establish the suffering of children and the handicaps in life that they must endure as a result of the lack of married parents are also setting up a straw man. To be sure suffering children are found in many families but often that suffering is a result of insufficient income. The benefits of proper family life are bound to win through if the comparator is a time when most people were in marriages whether they liked it or not. It would not be surprising if mothers in bad marriages devoted their time and energies to their children.
My biggest objection to this book lies in the dogmatic approach set out by Patricia Morgan who seems to be on a crusade against what she terms the atomistic society. This surely must be a topic all on it's own but it does seem to me that the opponents of freedom and liberty are casting their eyes back to a golden age of marriage where none existed. Education is rightly seen as a liberator for women who are as good, if not better than men in many respects. Why should they not have the same freedoms and responsibilities as men for all aspects of their lives. The question really is one of choice. Everyone should have the ability to decide for themselves what they do given the facts available.
In this case, social structure will be determined by those choices and we should be prepared for change whether people like Morgan want to deride it as post-modern or not. The conservatives case is too simplistic and seeks to use emotion and blackmail to return us to an age where men are subjugated to men. For myself, I want to see a time when all people are free to make the most of any opportunities which may be presented to them regardless of sex or colour.
Every student or interested observer of society should read this book and make up their own minds.
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This is what you can call a simple idea, well told. A lonely, bitter old gaffer needs redemption, and thus is visited by three spirits who wish to give him a push in the right direction. You have then a ghost story, a timeslip adventure, and the slow defrosting of old Scrooge's soul. There are certain additions in the more famous filmed versions that help tweak the bare essentials as laid down by Dickens, but really, all the emotional impact and plot development necessary to make it believable that Scrooge is redeemable--and worth redeeming--is brilliantly cozied into place by the great novelist.
The scenes that choke me up the most are in the book; they may not be your favourites. I react very strongly to our very first look at the young Scrooge, sitting alone at school, emotionally abandoned by his father, waiting for his sister to come tell him there may be a happy Christmas. Then there are the various Cratchit scenes, but it is not so much Tiny Tim's appearances or absence that get to me--it's Bob Cratchit's dedication to his ailing son, and his various bits of small talk that either reveal how much he really listens to Tim, or else hide the pain Cratchit is feeling after we witness the family coming to grips with an empty place at the table. Scrooge as Tim's saviour is grandly set up, if only Scrooge can remember the little boy he once was, and start empathizing with the world once again. I especially like all Scrooge's minor epiphanies along his mystical journey; he stops a few times and realizes when he has said the wrong thing to Cratchit, having belittled Bob's low wages and position in life, and only later realizing that he is the miser with his bootheel on Cratchit's back. Plus, he must confront his opposite in business, Fezziwig, who treated his workers so wonderfully, and he watches as true love slips through his fingers again.
It all makes up the perfect Christmas tale, and if anyone can find happiness after having true love slip through his fingers many years ago, surprisingly, it's Scrooge. With the help of several supporting players borrowed from the horror arena, and put to splendid use here.