2013年5月31日 星期五

Pornography: what we know, what we don't

Porn DVDs It may be readily available in adult entertainment shops and online but what do we really know about the size of the UK's porn industry? Photograph: Oleksiy Maksymenko/Alamy

Unsurprisingly, on the Datablog we often write articles about data when we have data. But some topics, like pornography, aren't conducive to statistical analysis, no matter how important many claim they are.

Despite these challenges, a report released today has sought to assess children and young people's exposure to pornography and understand its impact. Led by Middlesex University and commissioned by the Children's Commissioner, this was a rapid evidence assessment - completed in the space of just three months as part of a much larger ongoing inquiry into child sexual exploitation.

The report found that a "significant proportion of children and young people are exposed to or access pornography", and that this is linked to "unrealistic attitudes about sex" as well as "less progressive gender role attitudes (e.g. male dominance and female submission)".

Though the report makes these and other important conclusions, you'll notice that numbers are conspicuously absent in its language. One reason is that its findings were not based on primary research but a literature review that began with 41,000 identified sources and concluded by using 276 of those that were deemed relevant.

Several of the articles in the references are however quite dated - some published as far back as 1980. That doesn't necessarily mean that the findings are irrelevant. Rather, it shows just how difficult it is to analyse an entertainment activity/hobby/addiction (delete as appropriate) that is as prevalent as it is provocative - or at least we think.

In fact, for a phenomenon that is believed to be so widespread and so regularly features in debates about the state of British society, there is virtually no accurate data on pornography.

In February of this year, I contacted academics that conduct studies on pornography (though many of these look at its impact, rather than its scale) as well as 'industry experts'. One of those was someone working at Erotic Trade Only, which describes itself as "UK's leading adult industry magazine".

I didn't get very far. The industry expert replied "there are no figures, unfortunately, and with the industry continually changing its delivery vehicles and routes to market that is unlikely to change anytime soon".

The academic meanwhile pointed out, "much of what's out there is either self-reported by the industry or by its opponents, neither of which is particularly reliable". That's not even to mention that while a precise definition of 'pornography' remains elusive, so too do efforts to define where the boundaries of its industry stop and where they begin.

So what can be said? Well, like shopping, dating and programme viewing, the proportion of pornography online is growing compared to that which is offline. Maybe then, it's useful to look at some trends on Google. Trends like, for instance, the frequency of porn as a search term which, as the interactive graph below demonstrates, is becoming more common.

This, as the next interactive shows, is a trend which is quite equally spread across the country. England tops the list for online searches, Scotland has 97% the amount England does, Wales 87% and residents of Northern Ireland produce 3/4 the amount of web searches for the term 'porn' that England does.

But since Google Trends doesn't show absolute values, we're still no closer to understanding the scale of porn or its place in British cultural life relative to other trends. Well, what about if we were to use data on the most Googled terms in the UK in 2012 (Euro 2012 tops the list) and compare it to searches for 'porn'?

It appears that even at the height of football madness in June, porn was by far a more interesting topic for those in the UK to type into a search engine. All of which suggests that researchers weren't too inaccurate in titling today's report 'Basically, porn is everywhere'.

Obviously, this approach is far from methodologically watertight. Do you have any suggestions about ways to collect accurate statistics on the prevalence of pornography? Do you know of any reliable sources about its scale in the UK? Share your views, either by posting a comment below or by contacting us via Twitter on @GuardianData or @MonaChalabi.

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Scared of the school gate? Just follow these few simple rules…

A mother drops her daughter off at school A mother drops her daughter off at school. Photograph: Alamy

Can the school gate really be a nest of vipers? According to the most hyped fiction release of the year, the answer is yes – and then some. The Hive by Gill Hornby depicts the battle for supremacy between Bea, Rachel, Melissa, Georgie and Heather at the gates of St Ambrose primary school as a festering morass of bitchery, oneupwomanship and competitive catering.

The author is the sister of Nick Hornby and wife of Robert Harris (Fatherland, Enigma). Predictably enough, the book sparked a bidding war and has already been dubbed "the Fifty Shades of 2013". In the novel, a gaggle of women is fixated by the effortless chic of "Queen Bea", the alpha female who drops mothers from her clique as insouciantly as she drops off bobbly Boden castoffs at the charity shop.

"The book is about queen bees, the rule of the clique and what that does to us," says Hornby, who based the book on her experiences in the home counties, where her four (now grownup) children went to school. These women probably exist, concludes one reviewer, "but whether any reader would choose them for company is another matter". One glance at angsty Mumsnet discussions suggests that in many pockets of the UK you don't get much choice about it. So never mind in fiction, how do you survive The Hive in real life?

1 Rise above the clique (unless you're a Queen Bea, of course, in which case you'll be thinking, "What clique?")

Hornby's inspiration for The Hive came from Mean Girls (screenplay by Tina Fey) which was in turn based on Rosalind Wiseman's non-fiction book Queen Bees and Wannabes, a sociological study of teenage girls' "popularity contest" relationships in high school. Wiseman argued that cliques stop girls from being themselves, harm their self-esteem and come to have a bearing on every situation in their lives. Hornby argues that you see the same thing in grown women all the time. Except, if anything, they're worse.

The term "queen bee syndrome" was coined in the 1970s by psychologists examining women succeeding in male-dominated working environments. More recent US surveys have found that, while men are equality-opportunity bullies, women target their own kind: female bullies target women 80% of the time. One survey of 1,000 working women found that 95% had been undermined by another woman. But is the school gate really comparable to working? After all, no one's job is on the line. On the one hand, The Hive is a slightly irritating caricature of women being bitchy and mothers being petty. On the other, there are 11,600 (bitchy and petty) threads on this subject on Mumsnet.

2 Treasure offensive remarks at drop-off and pick-up

The world of parenting is populated with fellow travellers who want to say strange, intrusive and sometimes downright offensive things about you and your children. Hornby reports someone saying to a friend about her children: "Aren't they just adorable? I'm so intrigued by the unusual size of their heads." Personal favourites: "Your son has a great vocabulary. But his cognitive skills are crap" (about a three-year-old). "Oh, I see you've graced us with your presence." (You get this if you work and only do school pick-up two or three times a week.) But at least it's better than being famous, according to actor Alison Steadman: "I used to pick my kids up from school, and some parents would look at me and say, really sarcastically: 'Oh, she's picking her children up!'"

3 Ignore rudeness: smile, smile, smile (but not in a fake way)

One of the biggest complaints about the school gate on Mumsnet is that mothers (and fathers) feel ignored, shut out or blanked by others. This is often in people's imaginations and can seem more like a hangover from their own schooldays rather than anything based in reality. But if you have a tendency towards paranoia then definitely don't move your child to a new school in the middle of term.

4 Beware the curse of the cupcake

Allison Pearson nailed the desperate quest for bake sale approval in I Don't Know How She Does It. Her heroine, Kate Reddy, bashes shop-bought stuff with a rolling pin. Tragic but understandable. Baking for school sales or catering for fundraising events is a nightmare. You're damned if you do, damned if you don't. If you never bake anything, you'll get raised eyebrows and fake martyrdom: "Oh, that's OK if you don't have time this term …" If you do contribute, you'll be seen as some kind of desperate, envy-inducing Nigella wannabe trying to make everyone else feel inferior: "Did you bake those yourself? How on earth do you find the time?"

One top tip is to bake something that looks as though it contains nuts but actually doesn't and watch people go postal. I recommend brownies containing white chocolate drops that look like nuts. Cue millions of cries of "Have these got nuts in? You know this is a nut-free school? What other nuts have you brought on to the premises?"

Warning: Do not actually bake anything with nuts in it. If you do, you will cause some kind of international incident. And try not to cry when the ornate cake which you slavishly baked using £10 worth of ingredients is then sold for 50p because "there has to be something for everyone at the school fair, it's not just about raising money".

5 Wear what you want (including pyjamas)

On Mumsnet thread "So who is dreading the school gate 'fashion parade'?", several posters claim they have been sneered at for being too scruffy. One mum writes weepily: "Will my jeans and jumper surfice?" (sic). It's tempting to echo the feelings of UnquietDad: "Anyone who turns up at the school gate looking 'composed and confident' has too much bloody time on their hands." Worrying what other parents think of your outfit is foolish. Especially when they are probably too concerned about their own over-stretched tracksuit to care. Do not click on schoolgatestyle.com (yes, this is real – it mostly recommends colourful scarves). Do not wear high heels unless you are going to work. Do not buy anything from Boden. Do not compare yourself to celebrities on the school run such as Myleene Klass or Elle Macpherson. The best thing to do is to dress as messily as possible most of the time and then, once in a blue moon, come in wearing full makeup and a ball gown. Priceless double-takes.

6 Do not become class rep

The class reps look after the interests of the parents, liaise between home and school and organise coffee mornings and evening drinks for parents; they also spend a year going quietly mad. Some of them get Stockholm syndrome and volunteer to do it a second year. Or longer. They have to find volunteers for fairs, school trips, swimming and, most recently in our class, the circus. If you get through a year as class rep without having to register as Criminal Record Bureau-checked, it's a miracle. I repeat: do not become class rep. Or do become one and do nothing, thereby significantly reducing your own email traffic.

7 Say no to the PTA, the school quiz and sports day

Don't go to the school quiz. Or if you do, do not win. You will never be allowed to live it down. And it will be suggested that you used a mobile phone or you bribed the organiser or "revised in advance" (real accusation).

Beware "showing an interest" generally. If you ever go to one PTA meeting, you will be marked for life as a "joiner". Do not come to sports day wearing trainers. Participating in the mums' race reluctantly in bare feet is acceptable. But do not win.

8 A note to fathers

Hornby gives fathers a low profile in The Hive (mostly because her mothers are too busy competing to bed the new headmaster). This seems a bit pre-recession, though. Aren't there more dads at the school gate since the economic crisis? Still, I've yet to hear of a male class rep ever anywhere in the history of the universe. Any volunteers?


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What I'm really thinking: the father-in-law

We were at my daughter's for lunch one Sunday when suddenly there was a loud bang and the lights went out. I watched as my son-in-law remained in his seat, chatting away, blissfully uninterested in the problem. He sat there letting my daughter, who'd been cooking all day, struggle up a stepladder to turn the trip switch back on.

Later, when she and I had sorted the problem (a faulty appliance), we all laughed at her husband's lack of DIY knowledge. To an outsider, it looked like normal happy family banter, but really I was furious. Somehow I can't help feeling disappointed in her choice of partner, even though I hide it pretty well.

I make sure I get on with him, and that I never say what I really feel, particularly in front of my daughter – she's very loyal to him, which I?admire. Yet I feel rage when I see him reading the papers and leaving her to do pretty much everything: run the house, hold down a full-time job, do the DIY, pay the bills.

I treasure my grandson and our time together, but I worry that his father hasn't taken the time to bond fully with him. In my darkest moments I think he doesn't deserve the wonderful family he's got. Yet my daughter rarely complains, and tempted as I am to comment, I?know I would only alienate her. My wife died several years ago and my daughter is all I've got left. However angry I feel, I can't afford to tell her what I'm really thinking. So I keep my mouth shut and my enemy close.

‧ Tell us what you're really thinking – email mind@guardian.co.uk.


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2013年5月30日 星期四

Theatre shows autistic children can enjoy

Asperger's plays Five-year-old Charlie Webb, right, who has Asperger's, meets the cast of Spot’s Birthday Party at the Oxford Playhouse with his sister, Amber, two, and his mother, Tracey. Photograph: Damian Halliwell for the Guardian

For most five-year-old boys, a trip to the cinema is a treat. But for Charlie Webb, who has Asperger's syndrome, it's a sensory overload – and not in a good way. He has finely tuned hearing and hates sudden loud noises: hand-driers and helicopters upset him, so you can imagine how he feels with Dolby Surround Sound. "I don't want to go again," he told his mother, Tracey, after his second and final trip.

Other family outings, along with his father, Dustin, and sister, Amber, two, can be anxiety-inducing. The slightest change to the usual setup – a slide moved, say, or the menu changed – upsets him. Trips to the local park in Oxford are full of everyday social rules that he finds hard to understand, such as queueing and waiting. "When he gets angry, it's like a classic two-year-old's tantrum but on a five-year-old," says Tracey.

So when she heard about a theatre show at the Oxford Playhouse in February of Spot's Birthday Party, aimed at children on the autistic spectrum, she jumped at it. It was a chance to take Charlie along to something stimulating, but not frightening. "I'd never been brave enough to take him before," she says.

The play was a "relaxed performance", which means the theatre turns a blind eye to – indeed actively encourages – potentially disruptive behaviour. It allows children to move around and provides a less frightening environment. Actors, front of house, back-stage crew and box-office staff are prepared for what to expect during the performance, and "visual stories" – simplified information about the play and the theatre – are emailed to parents beforehand.

"The aim is to cater for the full spectrum of autistic behaviour, from profound disability to anxiety," says Kirsty Hoyle, project manager of the relaxed performances project run by the Society of London Theatre and The Prince's Foundation for Children & the Arts. This means anything from children groaning and rocking in their wheelchairs to reacting to the action on stage in an endearingly pantomimic way – "Watch out!" During one show, a child repeatedly shouted "Mango!"

The theatre makes minor technical adjustments: it calms the lighting, removes strobes and leaves house lights on so it is never completely dark; and lowers the volume of incidental music and other noises. Staffed escape areas are placed in foyers so children have somewhere to go if they want to leave. But, importantly, the play is unchanged. It means families don't feel they are being singled out for special treatment and theatres aren't put off by a lot of extra work.

Charlotte Warner took her son Alex, seven, to see a relaxed performance of 1,001 Nights at the Unicorn theatre in London in March. Alex is lively and intelligent, but hyperactive with a low threshold for concentration. When I meet them, he is hugely excitable and constantly grabs my dictaphone, informing me how pitifully lo-tech it is.

He can't answer my direct questions about the play – they are met with a blank, "I don't know." Instead he scribbles answers to statements Charlotte has prepared, such as "Going to the Unicorn theatre with your mother is ..." (answer: Great! A+). Aspects of the play that he enjoyed, I glean, were the Arabic numbers projected on to the backdrop, and the fact it was "cool" and "funny".

"If I took Alex to see a mainstream play, he would provide a running commentary and run around," she says. "So I'd find it stressful spoiling other people's enjoyment. At relaxed performances, anything goes. During 1,001 Nights, he ran on stage, and the actors paused, waited for him to get down, and carried on. He really enjoyed it. Doing things like this is confidence-building – something he can tick off and say, 'I've done that', so he's more likely to do it again."

"The biggest fears among the parents of autistic kids is negativity directed at them from the audience or actors, and of their children having a bad experience," says Jeremy Newton, chief executive of Children & the Arts. As a result, they rarely go to cultural events. "What we're finding is, parents react in two ways [after attending a relaxed performance]: one, they wonder what they were worried about; or two, they thank God they had support. Both are really positive reactions."

Last month, Disney's The Lion King put on the West End's first ever autism-friendly performance. But it's not just shows aimed at younger audiences that are opening up. The National Theatre in London staged a relaxed performance of the multi-award winning The Curious Incident of the Dog in the Night-Time last October and plans another on 22 June at the Apollo theatre, following its West End transfer.

During the performance, children sniggered at swear words, shouted, walked out and leaned on the stage. One boy laughed every time someone said Christopher, the name of the lead character, who has Asperger's.

For the actor Luke Treadaway, who plays Christopher – and who won an Olivier award in April for the role – a lively, noisy audience was a new experience for him. Was it distracting? "No, because we were expecting it. I actually thought it would be more distracting. People whose phones go off or eat crisps noisily are far more annoying. I was more worried about offending the families with my performance, as they live with [Asperger's] every day and know what it's really like."

After the play finished, the cast remained on stage, introducing themselves and answering questions. "We wanted them to see the moment when we stopped acting," says Treadaway. What sorts of things did they ask? "Are you autistic? Is that real chalk [Christopher often has a stick of chalk in his hand], that sort of thing."

"It was a privilege to do the show – these kids had never been in a theatre before. Theatre shouldn't be exclusive and this chips away at highbrow preconceptions. It used to be quite riotous – it's only now that it's become hushed. The point of these performances is to say, 'Come in and we won't judge you. You won't annoy anyone, just enjoy it.' I'd do one [relaxed performance] a month, no problem."

The unselfconscious reactions of autistic audiences is invigorating for actors, says David Bellwood at the Globe theatre in London, which invited about 120 autistic children to a schools' performance of Romeo and Juliet in March. They ask pertinent questions, applaud in unexpected places, shout, ooh and aah, and wolf whistle at dramatic moments. They shrieked with excitement at Romeo and Juliet's first kiss. "For the cast, it's refreshing to have such honest responses," he says. "They know the audience is really listening. I like that direct reaction to what's happening on stage – it's inspiring."

Parents of autistic children who attend these plays naturally have concerns before they arrive. "One mother emailed me to ask if there were any witches or balloons in the production, as her child found them upsetting. There was, in fact, a balloon but after long discussions with the stage manager we kept it in, but moved it upstage. Another mum asked if there were any steps, so I called her to find out what her child's fear of steps involved. In both cases, they came to the play and their kids enjoyed it," says Bellwood

"It was a risky project for us, but we had fantastic feedback. Many parents told us how nice it was to do something as a family for once – rather than taking their autistic child off with other autistic kids. It's given these children a taste for theatre and we'd love to think they will continue to come as adults. This is what theatre is about: attracting as broad an audience as possible. It's good for autistic children and it's good for society."

Siblings of autistic children often attend relaxed performances. In the same way that parents can relax in the knowledge their child's behaviour won't bother anyone, their brothers and sisters also find it a supportive and non-judgmental environment – that their family isn't weird and getting funny looks.

For Charlotte Warner, it's vital that Alex isn't always taken off on his own, but shares childhood experiences like this with his brothers, aged five and three. "Building a shared family narrative is really important, so that when the kids grow up they will hopefully be closer."

Back in Oxford, how did Charlie and Tracey Webb enjoy Spot's Birthday Party? "It was brilliant. There was no tutting and it was really informal," says Tracey. "There was no pressure to keep Charlie quiet. He was up on his feet singing, he really enjoyed it. He's told all his friends what a great time he had and I can see it's boosted his confidence."

She took her daughter, Amber, too. "There's a three-year age gap, they're different sexes, and Charlie has additional needs, so it's hard to find something they can both enjoy. But they both got something out of it. The only person missing was my husband," she says, laughing.

With such positive experiences, you wonder if theatre could become more tolerant generally of audiences with different needs. Just as a minority of autistic children were integrated into a mainstream – albeit schools' – performance of Shakespeare, could autistic children and adults attend regular performances without anyone making a fuss – if they were prepared? As the Oxford Playhouse website states, its relaxed performances are aimed at anyone who would benefit from a laid-back environment, including people with learning difficulties and very young children.

Jeremy Newton is cautiously open-minded. "I think different theatres could offer different approaches. For some, the minimal changes needed for a relaxed performance don't feel much different from a mainstream one – like at a children's show or at the Globe." Children & the Arts's modest target is for one relaxed performance during the run of every play. "They offer signed performances [for hard of hearing], and nobody bats an eyelid. We've found in relaxed performances, the kids' behaviour really isn't that disruptive."

Perhaps it's also the start of a new, more positive way of looking at autism. For Charlotte Warner, Alex's behaviour is a joy. "He's wildly eccentric," she laughs. "He will just come out with something over dinner – like 'Did you know 65% of Americans have bad breath?' – and we've no idea where it's come from.

"We have always cherished eccentricity in Britain, and people who don't experience it are missing out."


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Family life: Against the odds, True Blue and tuna fish pie

Snapshot ... Kay Parris Snapshot ... Kay Parris’s parents, Pamela and Hugh, in 1963.

This picture of my parents was taken in 1963, a year before they got married. It intrigues me, in the circumstances, that they managed to pose for a studio photograph like some confident, conventional, middle-class couple.

Mum was very shy – though she ended up as an infant school deputy headteacher – and her background could hardly have been less middle-class. Her own mother slept 10-in-a-bed growing up in Southwark, south London, and had no shoes. She and my grandpa, who was homeless for a spell and illiterate all his life, met after he found her drunken father spread-eagled on the street one night and carried him home to her in a wheelbarrow.

As for Dad, he was a recent West Indian immigrant – a well-connected government official back in St Kitts & Nevis, who danced with Princess Margaret once during a royal visit and whose brother Weston would go on to serve as deputy governor general of the islands. But that did not count for much on my grandparents' council housing estate.

Dad found work and rose through the ranks at the Inner London Education Authority, at County Hall (now overlooking the London Eye). In fact, this is where he and Mum, who briefly worked there too, met, doing tea runs for their colleagues.

The picture was taken during a period of intense family rancour that almost split them up. Not long before, my grandpa had found the address of Dad's bedsit in Ladbroke Grove and paid a threatening visit, taking a burly?son-in-law. Mum was told she would be disowned if she even considered marriage.

But I don't see signs of strain in their eyes, which convey dignity and hope to me. Ultimately, my grandparents – principled and loving as they were, despite their ignorance and the hardships of their own lives – did not cut themselves off from their daughter. After my brother was born, they learned gradually to leave their prejudices and fears behind.

My beloved mum died, aged 51, in 1992. Dad continues to meet up for regular drinks with his old County Hall cronies. He still looks great at 76 and women still fall in love with him from time to time.

Kay Parris

True Blue.

True Blue by Madonna

"True love / You're the one I'm dreaming of / Your heart fits me like a glove / And I'm gonna be true blue baby I love you"

As a 32-year-old mother, my life is pretty serious. I find that as I get older I laugh less and worry more. One Sunday afternoon, while my three sons watched television, I took a few minutes on my own in the kitchen and was listening to the radio when True Blue came on.

I was transported back to 1986, standing on my mother's foot stool, blasting out the song using my hair brush as a microphone: I didn't have a care in the world. I was happy and contented and never worried what people thought. I was just having fun.

Back in the real world, I found that I had been singing so loudly that the boys had come in and were laughing at me. I turned the radio up, grabbed my hair brush and jumped on to a chair. The boys' faces lit up. They didn't know the song, but they were going to?dance with their silly mum anyway. Just for those moments, I was?ready for fun and not to worry about a thing.

Samantha Whayman

Ingredients

50g plain flour

25g butter

125ml cold water

2 eggs

50g cheese cut into small squares

Tuna filling:

250ml milk

25g butter

25g flour

150g tuna fish

50g mushrooms

1 onion

2 tomatoes

Tuna fish pie Tuna fish and choux paste pie.

For the choux paste, bring the water and butter to the boil. Put in the sieved flour quickly and beat well, off the heat, till the mixture leaves the sides of the pan. Leave for five minutes, then add the eggs one at a time beating well. Cover with a plate and leave until cold. Add the cheese.

For the tuna mixture, put the milk, butter and flour in a pan and beat, bringing to the boil, then add the remaining ingredients. Heat oven to 400F/200C/Gas mark 6. Put choux paste all around the outside of the dish and fill the centre with the tuna mixture. Cover with a few breadcrumbs and grated cheese. Bake for 30-40 minutes until it looks ready.

As a special treat, I went to Granny Ray's house after school for tea once every two months or so. I was always starving and she was a fantastic cook. She served many tasty dishes that my mum – her daughter-in-law – never cooked and tuna fish and choux paste pie was one such meal. The crispy, light pastry edges, cheesy topping and creamy tuna mixture was for me the perfect combination and triggered a love of fish dishes that has stayed with me for 40 years. I took the photograph, above, after making it recently.

My granny was warm and loving, attentive and agile, even at 85. Her soft, powdered, wrinkled face, which I loved to kiss when I rushed in from school, is clear to me now. I find it very odd to see my own once smooth face starting to head that way with the onset of lines and creases. Her pie still tastes as good, but it doesn't confer any magic powers, unfortunately.

Madeleine Knight

We will pay £25 for every Letter to, Playlist, Snapshot or We love to eat we publish. Write to Family Life, The Guardian, Kings Place, 90 York Way, London N1 9GU or email family@guardian.co.uk. Please include your address and phone number


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Three months to find a wife

Alex Hamilton Alex Hamilton, aged three, with his father, left, and mother on Ascension Island in 1934.

I'm an only child: I suspect my birth may have been a surprise in a marriage of convenience that had never planned to add me to the scene. In fact, I waited six years before appearing, and then I travelled hither and yon, often alone, in three nations: as a toddler on the mid-Atlantic islands of Ascension and St Vincent, to three schools in Brazil and one in Argentina, before coming to board in England at 16. I spoke Portuguese before English, and was cuddled more by my dark-skinned and much-loved Juvita than by my mother.

I tend to think now that my father had had no intention of marrying anybody, even that were he to arrive on Earth today he'd be a fastidious and agreeable gay man. That was, of course, unthinkable in his day, even to himself – a concept that would have horrified his prim and utterly upright soul. (Mother never commented on his somewhat odd late-life hobby of dressing little cut-out dolls.)

Marriage never occurred to him until he was 27, in 1925, when his company, hinting at promotion to Brazil, suggested that "if he had marriage in mind, there was no time like the present". They allowed him three months to get it done, before boarding a ship for Brazil, stopping in Madeira for a week to celebrate the wedding.

The company was Cable & Wireless, Western Telegraph. The son of a baker, he'd left school at 14 but had energy and drive. From being the last in the telegraph chain, the lad who took them to the door, he rose to being the first, one of those who tapped them out. The company urged him on to night-school, where he excelled at morse code and learned about electricity, but they couldn't have imagined the thoroughness with which he would search for a bride during those three months.

Until then, he had apparently given all his leisure time to golf, tennis and (sedate) motorcycling – even abroad and after marriage, a bike remained his favourite photographic subject. Now, for his hunt, he acquired a huge new Harley Davidson with sidecar – but restricted it to 30mph, not only to calm the candidates (if they knew they were such) but also from an attitude he maintained towards any vehicle all his life. He must have made a plan, because he always did. Simple. Take them to lunch. Concentrate. Then choose a wife. It didn't work like that.

His Voigtlander had rarely taken pictures of people, let alone of women, but suddenly, as if he'd bought a more enlightened camera, he realised the need to spot women. He buzzed around the south, from beach to countryside, but his albums offer only tantalising glimpses, for he never did bother with captions. Numbers One and Two seem to be snapped under the same tree, though one is in sunshine, the other laughing under an umbrella. Number Three is one of 10 women in bathing suits at a seaside beauty contest, but he doesn't say which.

He took more photos of Number Four than all the rest put together. On a boat and in a field. Leaning against a tree with a cup in her hand. Tall and beautiful, she, alone of all his subjects, still occupies a whole spread in his album. I never knew who she was, nor did Mother ever mention her, but he clearly never forgot her. Numbers Five, Six and Seven, introduced by his motorbike pals – he had an army of them – are removed from his album.

Number Eight, end of the line, was Madeleine, a small dark Celt brought up in a convent, daughter of a professional boxer and national racquets champion who had changed his name from Alcock to a more decently respectable Barnes. When they met she too was 27 and the receptionist in a hotel where he had offered to deliver bread for his dad.

Her first reaction was to tell him to drive the Harley Davidson round to the tradesmen's entrance before agreeing to lunch and a ride in it. He said that he knew of a good restaurant, about 40 miles away, and he would like to visit it before going to Brazil. Yes, Brazil, the other side of the equator. Madeleine surely recognised it was time to get her skates on.

They became a good bridge pair in their expat circles, but I think cool practicality, not passion, was their suit. It was practical to send me away at seven to boarding school in England for two years, but back to Brazil when war began. And it was simply not practical to pack any toys apart from my favourite tin soldiers as we moved from Rio, Niteroi, Santos, Sao Paulo, Fortaleza … It was later practical for Father to deliver me at 13 to St George's College, 50/50 English and Spanish, in Buenos Aires, where they called me El Brasilero. And it was simply not practical to see me in the holidays.

Although he wrote me an occasional letter, items set out like a newspaper, we didn't meet again for five years – in England, with the war over, and me by then a sixth-former at the public school to which I'd been dispatched at 16.

His practicality, his calmness, his efficiency brought him not only a wife. These qualities also raised him to be company manager of Brazil where his British sangfroid was renowned. Mother would say that if she ever showed signs of being in a hurry to move, he'd pick up a newspaper. When a submarine surfaced off Valparaiso and gunned the town, it was he who went to the beach to take photos while everyone fled to the hills. And a colleague once swore that while dashing down the stairs during an earthquake, with the house shifting sideways, he passed the bathroom and saw my father gently adjusting the mirror on the wall as he continued to shave.

Up the Amazon as much as in the home counties, Father believed in system. Every morning as he dressed, he'd call "Five!" to the kitchen from his bedroom to advise when he'd be ready for breakfast. He was a big man, but a dandy. Wanting in the heat of Brazil always to have a load of fresh underwear, especially near the equator, he declined to travel in a two-seater plane to work in Maranhao unless a similar aircraft, dedicated entirely to his extra underclothes, went with him. It was agreed. According to Mother, the little planes flapped their wings on taking off.

Mother, on the other hand, excelled herself teaching young girls to knit woolly squares, then to link them into blankets to help with the war. In 30 years she barely learned the language, but nevertheless organised a group of Brazilian ladies to make clothes for American soldiers, and pullovers for the women of the Pacific islands, to make sure they looked decent.

During his long absence, Father had been unaware of the vast social changes in his homeland: he came back like a time traveller, with his puritan conscience, speaking an archaic slang, to a country he no longer recognised. And when, on one of our rare meetings then, I told him – a man who read only for practical purposes – that I'd committed myself to a career in books and writing, he expressed his disgust by a silence of seven years. But when my first novel was published, he invited me to lunch and told me Mother had read it.

Were they ever in love? At the end, long after retiring to England, she said she wouldn't be visiting him in hospital, but I must, and would I please remember to bring back the £11 he had taken in. When he died, at 71, her only lament to me was a wistful "We were such good friends!" She herself lived on till 97, sturdily independent – famous in her 90s for hauling coal over from her neighbour's shed, who, having died himself, wouldn't need it. I never saw them as much as embrace, and a single small photo in that early album, taken by someone unknown, only makes me sad: Mother sitting on a wall, young and slim, leans in to kiss Father's cheek as, laughing awkwardly, he turns his face aside.


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2013年5月29日 星期三

Michael Pollan: Why the family meal is crucial to civilisation

Michael Pollan Michael Pollan at home in the Bay Area, California. Photograph: Zuma Press/Alamy

What's for dinner? Where will you eat it? And who will eat it with you? Michael Pollan reckons that the answers to these questions could determine our survival as a species. In his own case, the answers are: meatballs, round the table, with his?family.

An internationally successful food writer and campaigner, he's just got home after a tour to promote his new book, Cooked: A Natural History Of Transformation. Now he just wants to unpack and do some cooking. "I've found this terrific new recipe using ricotta," he says. "It's so light."

He won't be serving it on trays, in front of the television because sitting round a table is so important. "It's where we teach our children the manners they need to get along in society. We teach them how to share. To take turns. To argue without fighting and insulting other people. They learn the art of adult conversation. The family meal is the nursery of democracy."

But the family meal, or "primary eating", is in decline – down to 67 minutes a day, Pollan says. Secondary eating (while you're doing other things) now takes 78 minutes per person per day. Astoundingly, 20% of food intake in America is now eaten in the car, says Pollan. It's unlikely to be nutritious. "I'm sure that some people are sitting in there eating organic baby carrots, but on balance what they're eating is likely to be crap."

Pollan has devoted years to attacking junk food, factory farming and agribusiness. He is also known for his advice on what we might eat, including the celebrated maxim, "Eat food, not too much, mostly plants." Now he would like to add to that pithy advice: "If you can, cook it yourself."

Cooking is what happens between farming and eating. It's a political act, he suggests, because by cooking we can improve our health, break our dependence on conglomerates, and build community. But like anything political, it can provoke fierce debate. Pollan courts criticism by suggesting that the modern-day reliance on convenience food, eaten in isolation, started with women going out to work. One American magazine writer said recently that she wants to "smack him with a spatula", and challenged readers with the question: Is Michael Pollan a sexist pig?

"For a man to criticise these developments will perhaps rankle," he concedes. "It sounds like I want to turn back the clock and return women to the kitchen. But that's not at all what I have in mind. I've come to think cooking is too important to be left to any one gender or member of the family. Men and children both need to be in the kitchen, too, not just for reasons of fairness but because they have so much to gain by being there."

His argument is not that feminism destroyed home cooking, rather that the food industry, eager to insinuate itself into the American kitchen, used feminist rhetoric to get there. "Feminism rightly demanded a renegotiation of the domestic division of labour, a very uncomfortable process for millions of us, and the industry seized the opportunity to say, 'Stop arguing! We've got you covered. We'll do the cooking so you don't have to argue about it any more.' And we all leapt at the 'solution'."

Pollan, 58, lives with his wife, Judith, 56, and their son Isaac, 20. Their kitchen is designed for "three people who like to hang out and cook together". Pollan calls it the family's centre of gravity. The dinner table dominates the room: a thick slab of elm with benches that tuck underneath.

In that kitchen, for the last three years or so, Pollan has been learning to "transform" food: to bake, braise, barbecue and brew. He has enjoyed roasting pigs and brewing beer with Isaac, and testing out recipes with Judith. "I like not using a recipe," says Pollan. "Using it for the first time and then throwing it out. Sometimes it goes off the track, but in general that evolution is good. You tend to figure out what's essential and what's not. We now have a nice rhythm. That's some of the best time we have together – in our kitchen."

He has also learned to cook with experts. "I was pinching myself that I was getting paid to learn the things I was learning," he says. "And I was working with people who wanted to work with me. I wasn't having to persuade feedlots [used in US and Canadian factory farming to intensively feed up animals before slaughter] to let me in, or ask?Monsanto to have access to their?scientists.

"This was a voluntary project. And the end result is more personal than anything I've written."

Pollan grew up loving food – he claims he could still pick out his mother's beloved blue casserole dish from a lineup. But despite writing a series of award-winning food books, he has never really cooked. "I wasn't a complete naif in the kitchen," says Pollan. "But I cooked in a pretty half-hearted way. Like a lot of people, I was divided when I came into the kitchen. None of us has to cook any more so when we get into the kitchen we're conflicted. There's always something else we could be doing that's more pleasurable. Or easier. Or more demanding."

Take onions. Pollan was always too impatient to chop them finely. He didn't see the point. When he put them in a pan to saute he would wait 10 minutes before he tipped in the tomatoes. "The idea that I would wait 40 minutes for the onions to get really translucent and sweet? I was like, no, I'm not going to do that. But as I learned to cook, I changed. I just let myself be in the kitchen. I disconnected from my computer screens and took time to connect with my senses, my wife and my son. When chopping onions, just … chop … onions. It's a useful piece of life wisdom."

It may also sound time-consuming. But Pollan is good on how we have found other ways to waste time that would previously have been spent cooking. "We forget how much time it can take simply to avoid cooking: all that time spent driving to restaurants or waiting for our orders, none of which gets counted as 'food preparation'. And much of the half-hour saved by not cooking is spent watching screens."

michael pollan and son Michael Pollan (left) adds sauce as his son Isaac, then 15, stir-fries lunch for the family. Photograph: Liz Hafalia/sfc

In the book, Pollan writes about a "microwave night" in which he tested how much time is saved by ready meals: none. "That's because the microwave is an individualistic serial machine – it can only do one at a time so if you've got four people eating four different entrees, each has to be individually heated. So our microwave dinner, which was supposed to save us so much time, took about an hour to get to the table. And by the time the last entree got out, the first one needed to be renuked because it was cold. So I'm hard on the microwave. Without question."

Pollan does still have a microwave, but doesn't use it to cook. It's there to defrost things and to reheat his coffee – several times a day. But he has little love for it. "When you compare a microwave with a real fire or a casserole – these things speak sharing. They draw people around them. The microwave doesn't. Nobody wants to get too close to a microwave. It gives them the willies because of the mysterious waves jumping round inside."

If Pollan sounds authoritative now, he wasn't always. His interest in food writing was partly sparked by his son, Isaac, who used to be a terrible eater. "From the age of three or four, he really only ate white food. I could make him a chicken breast [sandwich] without any crusts. But it was a seriously limited diet. If I'd had a more sensitive understanding of cooking I might have been able to feed him with more success. If we'd had a little more confidence as parents we would just have let him get really hungry. [We'd have said], 'He can take it or leave it. He's just jerking us around.'"

michael pollan family Michael Pollan with his wife, the painter Judith Belzer, and their son Isaac, now 20. Photograph: Peden and Munk

Pollan was quite clear about the food and drink he wanted in the house. "We never kept any soda. That's a key thing. If your kids aren't having soda every day, that's half the battle, in terms of weight and diabetes. Potato chips we seldom had around – maybe if people were coming over. We didn't have dessert every night. And we didn't fry too often. My wife is very fat-hostile. She doesn't like a lot of fat in her food. But we didn't really have to ban much."

That is probably why Isaac is still happy to bring friends home after college. "His friends will completely empty the refrigerator and pantry and take whatever crackers and snack foods they can find," says Pollan. "They will then go into the room where we have the TV and distribute the crumbs evenly over the floor and the couch. We're much more normal than you might suspect."

I expected Pollan to be pompous and self-righteous like every other food guru I've met. But he's not like that at all and, it transpires, not adverse to a junky snack or two. "We have a caramelised popcorn called Crackerjacks," he says. "If I'm in a gas station, that's what I'll go for. You could call it junk food I suppose. I prefer to think of it as a traditional native American treat …"

He's a funny man. But, sometimes, bearing the responsibilities of a nation's diet weighs him down. "I've become the food super-ego for a lot of people. And I find that uncomfortable. People like to confess their food crimes to me. I don't want to hear it. Eat what you want. That's not my role.

"My role, I think, is to make people eat with more consciousness. Eating thoughtlessly is the biggest problem we have. If we're not thinking, they can push our buttons and get us to eat all sorts of stuff. The more thoughtful we are, the healthier we'll be."

Pollan doesn't want to argue people into the kitchen. He wants to entice us – to show through his storytelling how rewarding cooking can be. "As good as restaurants are, they tend to throw a whole stick of butter in at the last minute just for the hell of it, plus put in more salt and sugar than the home cook would.

"Home cooking is good for you, and I eat out less. But that's the least of it. What has surprised me is how stimulating it is. How satisfying. You learn a lot about plants and animals. You begin to recognise your place in the world."

To learn these valuable lessons, he says, children do need to be taught about food. "There are few more important life skills we can give them. We already teach them about driving, alcohol and drugs, and safe sex in school, and it seems to me that teaching them to cook is just as important for their long-term health and happiness."

When Isaac was 13, Pollan says, he began to trust food. "Not fear it – because he saw how it was prepared. Kids can be very suspicious: 'Why are you hiding that food with sauce?'

"Once they start making it themselves, they are more likely to enjoy it."

Now, some years later, Isaac often does his work at the kitchen table while his parents cook: "We'll ask him to chop an onion. Or mince some garlic. And he'll offer unsolicited advice in the seasoning. Then, when we're almost done, he'll make a port reduction. The table really is the centre of our family."

‧ Michael Pollan will be taking part in a live chat at 3.30pm on Tuesday 28 May at guardian.co.uk/wordofmouth

‧ Eat with others rather than while watching TV/working/driving by yourself – you will eat less.

‧ Decide how much sugar, salt and fat you want to eat – don't let a food corporation make that decision for you.

‧ Try to eat food cooked by humans rather than corporations – it will automatically be better for you.

‧ Don't use the microwave to heat up separate meals – sharing the same food at the same time is better for family life.

‧ Brew your own beer now and again – it's a great way to bond with teenage children.

‧ Cook your own meat – then you'll know what animal it really is.

‧ Enjoy watching cookery shows on TV – but don't let them put you off cooking. yourself and remember your children will learn to cook by watching you.

‧ Eat as cheaply as your grandmother did by cooking like her – use fresh ingredients and leftovers.

‧ When chopping onions, just chop onions – give cooking your full attention and you'll find you enjoy it more.

‧ Eat whatever you like as long as you cook it yourself.


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Are we being cruel not to give our parents grandchildren?

My wife and I are in our 40s and have decided that we would prefer not to have children. I have one sibling, a brother also in his 40s who is in a long-term relationship – they have no?children.

Our parents are in their 70s. The problem is that I feel increasingly guilty that they will never have grandchildren to enjoy. Most of my friends have children, hence their parents have become grandparents, and I can think of no acquaintances of my parents who aren't. My parents?are much too discreet and respectful to ask us about having children, but I am sure that grandchildren would make them happy and should be one of the pleasures of growing old. I often wonder what they say to their friends when asked about whether grandchildren are likely and wince as I wonder how they answer and how uncomfortable they feel when?asked.

Are we being cruel in denying them this pleasure? How is it for parents to be denied the pleasure of grandchildren when their friends are talking about it incessantly?

T, via email

Grandchildren might make them happy, or they might not. But it's not your job to make your parents happy. They are responsible for their own happiness. I don't mean that you shouldn't treat them well and do things they would enjoy, but providing that deep happiness that makes them tick? That's nobody's job but theirs. They decided to have children, that was their decision.

Let's think of this practically. Imagine you had babies just to please your parents, to assuage your guilt and make them feel less left out with?their friends. Now let's imagine that they really didn't want to be that involved with your children?or your parents died. You would still have the children and then what? Do you see how this exposes what a very bad idea it would be to have children just to make your parents happy?

There are loads of things you probably do, or don't do, that your parents wish you didn't do/did. Maybe they would prefer it if you lived closer to them or further away. Or did different jobs. Or had married different people. But it would be ludicrous to change any of these things to please your parents. They, I hope, will have raised you to be your own person, not as an extension of themselves.

The fact that you haven't talked to your parents is key. I need to tell you a short story. When I was six, I overheard my mother say, "I would love it if my youngest became a doctor." So from that moment on, and without ever discussing it further with my mother, I said that I wanted to become a doctor. I studied for three science O-levels because that's what I needed to do back then, so I could go on to take the A-levels to study medicine.

I struggled horribly and in the end had to go to my mum and say, "I'm really sorry to let you down, I can't be a doctor because I am useless at chemistry O-level." My mother didn't know what I was talking about. She had no recollection of ever having said that she wanted me to be a doctor.

You have no real idea what your parents feel. Talk to them. Tell them what your worries are and how you feel. I would also say that, anecdotally, even people who are positive that they don't want children go through a last "am I sure I don't want them?" as they enter their 40s. I think this is not only natural, but also prudent and may be what is happening to you. (As ever I ask: why now? Why are you feeling guilty now?). But many don't say anything for fear of showing any "cracks" as people who choose not to have children are often asked to justify?their decisions, and therefore?rethink them, whereas those?that do have children are never asked if they are sure they wanted to have children.

I really admire people who know their own minds: be it to have x number of children, or none at all, and I know plenty of people in both camps.

It sounds as if both you and your wife know your own minds, but are second-guessing what your parents may be thinking and feeling, and getting into a froth about something largely imagined at this stage. You know what would probably make your parents happiest? You being happy.

Be positive about your actions instead of feeling like you're denying them something. Presumably you've all led full lives up until now without you and your wife having had children? There's no reason you can't continue doing that.

Contact Annalisa Barbieri, The Guardian, Kings Place, 90 York Way, London N1 9GU or email?annalisa.barbieri@mac.com. Annalisa regrets she cannot enter into personal correspondence.

Follow Annalisa on Twitter @AnnalisaB


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A letter to … the man who abused me

I wonder if you think of me as many times as I have thought of you. You befriended and seduced my mother when she was at her most vulnerable. She was 35, just a couple of years older than I am now, and a single mum of three children – nine-year-old twin girls and a 10-year-old boy. She was a girl-child in many ways, married at 21, part of that generation of women?born to be someone's carer, their other-half.

Did you single her out for her – our – vulnerability alone or was there any genuine attraction? We were so trusting, so willing to accept you into our lives. We hoped you would make Mum happy, take away the dark misery that had engulfed her since Dad left.

I'm not sure we rationalised it in that way but we knew the devastating impotence and sadness we felt when she threatened to drive her car into a brick wall. "If it wasn't for us," she told us, she would have done. So who were we to get in the way of anything that might prevent that? Even you.

I remember an awkward day out in Lyme Regis. Children have an uncanny sense of wrongness. I thought I had hidden my misgivings, buried them well, stoically, but years later I found a letter I had "sent" when I was nine. "Mummy," I wrote, "we want you to be happy even if it's not with Daddy, and we are so sad when you are sad so this is hard to say, but do you think X is for you? We are worried he is not nice."

You were not nice. You abused our mother's trust, our childish trust, in the worst of ways. You must have known that, despite our misgivings, we were good enough kids; we loved our mother enough never to tell. Never to tell when you exposed yourself to my nine-year-old self and my twin sister, and forced us to do the same to you.

You told me that we were special, that you had found us out because just like your own flesh and blood daughter (who we occasionally, awkwardly, met) we needed lots of attention to be your special girls. The things you did to us were unspeakable. I will not give them life here.

I should have forgotten you. Your face, your flesh should have no place in my mind. I have tried to forget you, to forgive you. But I can't. In later years, I wanted to bring you to justice but felt I could not do so without my twin. But she didn't want to rake over old, painful ground. Her childhood sweetheart (who she is still, blessedly, partnered to) had given her the strength to move on. But not me. I still dreamed of you. Of the children you must have gone on to terrorise after you finally left Mum when we were 16. Of the injustice that was never brought to rights.

Neither of us had any trust that the authorities would take us seriously. We had told too many "trusted" people; our mum, later our dad and stepmum and tacitly told so many "trusted" adults, to believe that anything would actually change. I sought relief?in alcohol and was told by my mum, in what I thought were hypocritical, but probably life-saving, terms that I had not been brought up to be a waster.

So we plastered over the cracks. And do you know what? We've done OK. My sister has the most beautiful daughter and son who are never spoilt but always protected and cherished.

I am on my own, but happy. I still struggle with a sense of self-worth and find it difficult to trust others – especially men. Who knows how much that has to do with you? Happily, I spend more time these days trying to overcome rather than understand this aspect of my personality.

But it does make me reflect bitterly when stories such as the Jimmy Savile case come up. Are you laughing that we spend so much time wondering how celebrities like him can have got away with abusing young girls on such a regular basis when nobodies like you did so throughout your whole life?

In all likelihood, you are dead now. And I wish I could say that I am praying for your soul. But I am not. What I actually wish is that I knew where you are buried so I could stand over your grave and spit on it.

But I won't waste too much time worrying about that. I have a life to live, and I am going to live it well. That's my best defence against all that you so nearly took away.

JS


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The hottest French It girl of 2013: Julia Restoin Roitfeld

As a four-year-old, Julia Restoin Roitfeld would sit on her mother Carine Roitfeld's lap at fashion shows in Paris. At 10, she was photographed by Mario Testino for Vogue Bambini. In her 20s, she became an art director, muse, model and Parisian It girl, before moving to New York. The designer Tom Ford described her as "exactly what beauty is to me" and, when she gave birth last year, he gave her a pair of black suede kitten heels in baby size for her newborn daughter.

As the scion of a Paris fashion dynasty – her mother was editor-in-chief of French Vogue and her father created the French brand Equipment – Restoin Roitfeld, 32, might seem a little too haute couture to offer down-to-earth style advice for new mothers. But her new blog, Romy & The Bunnies – part diary, part family scrapbook, heavily accessorised with stuffed rabbits and flashbacks to her chic pregnant mother in 1980s Paris – is fast picking up a following. Inspired by her motto, "You can have a job and a baby and style and a body", it's an eclectic mix of advice and tips from models, fashion insiders and working parents. There's even advice on nappy bags for men (her partner is the Swedish-born Croatian model Robert Konjic).

Restoin Roitfeld, who was still modelling her own underwear designs in the early stages of pregnancy, had her daughter, Romy, in May 2012 and launched the?blog this March. When we speak, Romy is upstairs with her nanny. "When I was a child we had a nanny all the time," she says. "I?really wanted to do the opposite at first. I made a point of spending every minute with my daughter. I couldn't care about work; I just wanted to be with her. I?had never even babysat. I?was scared of holding a baby. Then it all came very?naturally."

Several months in, she got a nanny and she now works at least three hours a day on the site, which has been compared to Gwyneth Paltrow's Goop, though it's less preachy. "My site is a beauty and style guide, not a?parenting guide," she says. "I'm not the right person to give parenting advice – it's?too personal."

She's baffled by the fuss over French parenting manuals such as French Children Don't Throw Food. "I?feel very French. My baby was born in New York, but I want her to have French culture. I've gone back to singing the French songs I did as a kid. But all these books about French tips… French diet, French education, French schools?"

Her only observations would be: "French schools do a lot more homework and longer hours: say 8:30am to 5pm, with homework on top. And I think people perhaps don't breastfeed as much in France. My girlfriends don't, my mother didn't, I don't even think my grandmother did. But I?wanted to."

Of French women, she says: "We're coquettish. It's funny: you could say French women look put-together but we don't spend that much time in the bathroom, and tend to go for really minimal makeup during the day. I?do, especially now I have a baby." Where exercise is concerned, she says, "French women don't work out that much – we don't have the gyms that are open all hours that exist in the US. Maybe it's about food. French people don't snack – it's just not part of the culture."

She's now considering designing a range of maternity clothes that women can keep wearing after the birth. Even at the smartest New York shops, she was appalled by what was on offer. "Everything was so awful, as if just because you're becoming a mother, you didn't like fashion. It was too mumsy or girly-girly. Topshop seemed the only one working with the trends and reproducing them for pregnant women." She feels good maternity clothes should work beyond pregnancy. "I still had a little bit of a?bump afterwards. That was harder than when I was pregnant. When I?was pregnant I wanted to show it; afterwards I wanted to hide it."

As for dressing children, the blog carries illustrations of Romy in her various styles. These display the Parisian tendency to dress babies in vintage wear – ideally one's own baby clothes. Her mother had a collection of Victorian-style baby-wear, which she handed down. It's closer to the French baby shop Bonpoint, with its traditional knitting or cord in muted tones, than the bright colours of the Anglo-American high street.

"At the start, Romy was just in white T-shirts, leggings, easy to wash," she says. "I'm not a big fan of designers for kids: it's cute, but they dirty themselves so quick. And it only works for kids if they are not replicas of adult outfits."

What about the Tom Ford kitten heels: does her baby wear them? "Oh no, they're not for wearing!" she says. "I can't even get them on her foot to photograph them. They're still in a box wrapped in tissue paper."


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2013年5月28日 星期二

My dad was a homeless alcoholic – but he got a second chance at life

duncan gall john gall John Gall, left, and his son Duncan at the Emmaus community, near Cambridge. Photograph: Graham Turner for the Guardian

After sitting his GCSEs, Duncan Gall went to Tenerife with his friends from school. He remembers the bittersweet feeling of arriving home, missing the beach and sun, but glad to be back. He and his father, John, lived in a flat in Peterborough. His mother, Maureen, had died four years before. Duncan had started to rummage for his keys when he spotted the notice. "It said we'd been evicted," says Duncan. "When I tried to open the door, I couldn't. The locks had been changed."

There was no sign of his dad. "There were no mobile phones in those days," says Duncan, now 33. "I hadn't a clue where Dad was. I had no way to contact him, nowhere to go. I was 16 years old and completely alone."

Today, John listens to his son's story in silence. "While he'd been away on holiday, I'd walked out and left him," he says, shaking his head. "I simply couldn't go on any more. It became easier to just slide out of Duncan's life than to stay and face up to the reality of my own.

"I think I'd come to the conclusion that I was such a bad father that it was better for him to have no one around than have me to cope with."

That night, Duncan stayed with a friend. A few days later, he went to the council housing office and was given a bedsit. "When school started again, I was the only sixth former living like that," he says. "But I survived. School gave my life a framework. It wasn't so bad." Of his father he knew nothing, which was exactly what John wanted – he was now homeless, living on the street or in night shelters. For a while he slept at a bus stop and became known to the locals as Bus Stop John.

The truth was that John had begun a slide into alcoholism the moment his wife was diagnosed with cancer. "She was 39 years old, and we had three children aged 12, 13 and 14 at the time," he says. "She was dead within six months. It was too much to bear. I'd always been a social drinker, but I quickly became totally dependent on it – I was drinking vodka before getting out of bed in the morning."

Until Maureen's death, the family lived in a rented house. John describes himself as a jack-of-all-trades. He moved from job to job, sometimes working in factories, other times working on the land. Once widowed, he no longer worked and before long he couldn't afford the rent. The four of them – John, Duncan, and his older sisters, Joanne and Kate, moved into a family hostel, and eventually the girls moved out to live with boyfriends.

John and his son were rehoused in a flat. "I knew he was drinking a lot," says Duncan. "But he was still there and we still communicated and lived around one another. He was still my dad."

Over the weeks and months there were occasional sightings of his dad. Duncan would glimpse him in the distance or hear about him from friends. "It was pretty obvious what had happened, that he'd gone off the rails and was drinking himself into oblivion," says Duncan. "Sometimes he'd get accommodation for a while and I'd go to see him, but I never stayed long – it wasn't easy to see him in that situation." By now his sisters weren't in touch with John much either.

But they did all live in the same town. John had turned to begging by day; and it was when he saw Duncan passing by that he realised he'd have to get away. "I was begging for money to spend at the off-licence, when suddenly I spotted Duncan walking along the street," says John. "I was horrified. I knew that, however bad things had got, I didn't want my children to see me doing this."

John left Peterborough the next day. He went to Cambridge, then on to London. From there his life went further downhill. "In London I lived even more on the edge – it's a big city, and if you're homeless you have to have your wits about you to survive," he says. "I slept on benches or under Blackfriars bridge. It was dangerous and cold and uncomfortable, but when you've had as much to drink as I usually had you hardly notice.

"I never stopped feeling guilty about the kids. Not a day went by when I didn't think of them, and feel bad about what I'd done. However much I'd drunk the night before, I always woke up thinking about them."

Looking back, John believes he had a death wish. "I think I was expecting to die and I thought it would be better for me and for other people if I was dead," he says.

One night in December 1999, he went on a bender – two bottles of whisky, three or four more of cider – and the last thing he remembers is drinking vodka in Trafalgar Square. When he woke up, he was in another part of London entirely with no idea how he'd got there. "I realised the danger I was in. I really wasn't going to last long if I carried on," he says.

He found a room in a cold weather shelter, and heard about the scheme that would save his life. It was a project called Emmaus, in Cambridge, a place where homeless people could live and work, and rediscover their self-respect and self-belief. "I knew I needed work to give me something to get up for in the morning, and I knew I needed to get away from London and the life I'd been living there."

He got a place at Emmaus in January 2000: it was to be the start of an extraordinary rehabilitation.

Duncan, meanwhile, had done his A-levels and got a job in a warehouse, quickly rising to work in sales and then as a buyer and later an account manager for a technological company. He had lost touch with his father and now didn't expect to see him again. "I thought he might even have died without me knowing," he says.

Then, in 2002, a wedding invitation landed on Duncan's mat. A year or so after arriving at Emmaus, having successfully detoxed, John had fallen in love with a fellow resident, Joan Baxter – and they were getting married. "Most?of the people at Emmaus are men, so when Joan arrived I was asked to look after her – we clicked straight away," says John. "Our wedding was the start of a new life and I summoned up the courage to invite the children. I?really wanted to be in touch with them again."

Duncan didn't hesitate to accept. "It was quite daunting, knowing I'd be seeing Dad again after all this time," he says. "But I really did want him back in my life."

The wedding was quite a surprise: through his years of homelessness, alcoholism and then alcohol withdrawal, John had made a lot of new friends. "There were more than 300 guests including Terry Waite, the patron of Emmaus," says Duncan. "He made a speech. It really was an amazing day."

For John, seeing Duncan again was the icing on his wedding cake. "I'd seen my daughters again by then, and seeing Duncan was just wonderful. We didn't have a lot of time to talk that day, but I knew we'd see one another again. I had a lot to make up for."

Over the next few years, John and Duncan rekindled their relationship and then in 2009 Duncan came to stay with John at Emmaus. "I planned to be there a fortnight and stayed 18 months," says Duncan. "Everyone was really welcoming, especially as I had skills I could share in the community, and it gave me time to really get to know my father again. Emmaus has about 30 homeless residents and they all became my family."

By this stage, John had progressed from being a resident (they're known as "companions" at Emmaus, which is a secular organisation, although it was originally set up by a priest in France in the 1940s) to being leader of the Cambridge house. When a new community was set up in Leicester last year, he encouraged Duncan to apply for the same role there. Duncan got the job; today he and his dad speak on the phone every day, and meet every week or two. "It's so helpful when I've got a problem to be able to talk it over with Dad, because he's done this work a lot longer than me – and he understands the issues around homelessness from the inside," says Duncan.

What's most touching of all, chatting to the two of them, is how immensely proud each is of the other. "I often meet people who tell me how difficult their start was and how it stopped them getting on in life. And I think of Duncan and I say, yes, it's hard when life deals you a bad hand when you're a kid … but look at my son. Look at how tough things were for him. And he made it."

For his part, Duncan never tires of telling how John turned his life around. "At Emmaus Leicester, I say: look at my dad. If you're telling me that you can't do anything with your life because you've been on the streets, that you can't pull yourself up again, look at him and what he's achieved. You don't get more down and out than he was: but he made it back. That's really something."

‧ emmaus.org.uk


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Rent your home to pay for your holiday

Padstow holiday beach While you're relaxing on the beach, your home can be making you money. Photograph: Matt Cardy/Getty Images

Fancy making money from your home while you're on holiday? Increasing numbers of websites are springing up which allow people to rent out their properties for short periods. But homeowners who take advantage of them need to be careful they are not breaking any rules.

Websites such as Oxfordshire-based Holiday Lettings, which became part of the Trip Advisor group in 2010, are designed for those who are new to lettings or only want to let their home for a few weeks a year. It launched a free listing service in February and is running an advertising campaign asking homeowners to "see how much you could earn towards your next holiday".

Holiday Lettings takes 3% of any bookings you receive, plus VAT. That means if you were to let a property for £700 a week, its cut, including VAT, would be £25.20, while if you let your home out for £1,500 a week, Holiday Lettings would take £54 including VAT. Guests pay the company a 5% booking fee which is automatically added to the rental price.

Your home does not have to meet any particular standards if you are renting it out, but obviously if the photographs you take to advertise it show it looking cluttered and dirty, you are unlikely to get many takers.

"Good transport links are important too, and you should also give some thought to local events happening while you are away and which could attract people," says a spokesman for Holiday Lettings.

"When deciding how much to let your property for, look at comparable properties on the site to give you an idea of price. Be careful not to overestimate or underestimate how much you should put it on for – both can put people off."

There are other similar websites specialising in putting you in touch with potential house guests, such as Wimdu.co.uk. Again, this site allows you to list your home – or a spare room – for free, and takes 3% from each booking. Homeowners are insured against any accidental damage caused by people staying in their property.

Ivy Lettings also specialises in renting out people's homes, though only if they are based in London. Properties need to be in zone 1 or inner zone 2, available for at least 12 weeks in total a year or at least eight weeks between June and September, and fully furnished to a high standard. Ivy Lettings says commission varies depending on the property, how large it is and how many people it can accommodate, but is typically around 20% plus VAT.

However, before you can let your home, you need to be aware of some golden rules to avoid potential pitfalls:

The Halifax says borrowers need permission to let out their property; otherwise they will be in breach of their mortgage terms and conditions.

"One of the conditions of us providing our consent is that all lettings are carried out through an assured shorthold tenancy agreement," says a spokesman. "However, the minimum period that one of these can be set for is six months."

This policy applies to all of Lloyds Banking Group's mortgage brands, which also include Lloyds TSB and Bank of Scotland. Yorkshire building society also says it will not give consent for its mortgage customers to let out their homes for a fortnight.

However, some lenders are more flexible. A spokesman for Santander says: "If someone is letting out their home while they are away on two weeks' holiday, we would want the borrower to ask us for consent, but this would not be unreasonably withheld."

Most insurers will continue to provide cover as long as the letting has been organised through an agency, although they may put extra restrictions and limits on the level of cover offered due to the increase in risk.

Asia Yasir, spokeswoman for esure home insurance, says: "There would be no additional premium if you were letting your home out for a fortnight, but there will be restricted theft cover. There would need to be evidence of forcible or violent entry to make a claim.

"We would also encourage homeowners to secure their valuables and property, ideally taking high-value items such as jewellery with them or locking them up in a secure safe."

Direct Line also says it will cover properties if let while the owner is on holiday, though there would be an additional premium. A spokesman says: "We would usually limit this to two individuals, or one family, staying for no more than six weeks. Accidental damage cover will not apply while the property is let, and theft cover will be restricted to forcible and violent entry. The additional premium will vary from customer to customer."

Some don't allow short-term lets unless you have permission, in order to protect other residents from potential noise and disruption. For example, according to Westminster council you need permission if you want to let your property for less than 90 days. Without it, you are breaking the law and could be fined up to £20,000.

If you can overcome all these hurdles, remember that tax will be payable on any income you receive. However, if you are only letting out a room or a floor rather than your whole property, you should be eligible for tax relief on any money that you earn.

Under the government's Rent a Room scheme, you can earn up to £4,250 a year tax free from renting out your spare room. This applies whether you rent or own your home, although if renting you will need to confirm that your lease allows a lodger.

children looking into tent The Lewis family are camping in their garden this summer – and letting their house. Photograph: Stephen Shepherd for The Observer

Like thousands of others, Kate and Andy Lewis will be camping during next month's Glastonbury Festival - but they will be in their own garden next to the site while their home earns enough money to pay for their annual holiday.

The couple and their three children, Ellie, Morwenna and Harvey, live just a muddy wellington boot's throw from Worthy Farm, where the Rolling Stones, Mumford & Sons and Arctic Monkeys will headline this year's?event. For each of the last six years the family have let out their farmhouse to revellers while they camp in the field alongside. This year music journalists and record company executives will rent it for a week for £6,000.

"We'll be staying in a trailer tent in the garden. It's a step-up from the canvas tents we've had before, but not as posh as a trailer," says Kate.

"Some people in Pilton village, where the event is held, let their houses, but others let just a room for up to £1,000 for the festival week. One villager lets a room to someone helping to organise the festival for three months each year. It's something of an industry."

The potential market is huge. Research by Bournemouth university shows that 7.7m tickets were sold for live music festivals in 2009.

If you live near a festival site you can advertise your home free of charge to potential customers on festival-beds.com, a site set-up by Kate and a friend.
Graham Norwood


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