Dan Quayle Was Right

The social-science evidence is in: though it may benefit the adults involved, the dissolution of intact two-parent families is harmful to large numbers of children. Moreover, the author argues, family diversity in the form of increasing numbers of single-parent and stepparent families does not strengthen the social fabric but, rather, dramatically weakens and undermines society

Given its dramatic impact on children's lives, one might reasonably expect that this historic level of family disruption would be viewed with alarm, even regarded as a national crisis. Yet this has not been the case. In recent years some people have argued that these trends pose a serious threat to children and to the nation as a whole, but they are dismissed as declinists, pessimists, or nostalgists, unwilling or unable to accept the new facts of life. The dominant view is that the changes in family structure are, on balance, positive.

A Shift in the Social Metric

There are several reasons why this is so, but the fundamental reason is that at some point in the 1970s Americans changed their minds about the meaning of these disruptive behaviors. What had once been regarded as hostile to children's best interests was now considered essential to adults' happiness. In the 1950s most Americans believed that parents should stay in an unhappy marriage for the sake of the children. The assumption was that a divorce would damage the children, and the prospect of such damage gave divorce its meaning. By the mid-1970s a majority of Americans rejected that view. Popular advice literature reflected the shift. A book on divorce published in the mid-1940s tersely asserted: "Children are entitled to the affection and association of two parents, not one." Thirty years later another popular divorce book proclaimed just the opposite: "A two-parent home is not the only emotional structure within which a child can be happy and healthy. . . . The parents who take care of themselves will be best able to take care of their children." At about the same time, the long-standing taboo against out-of-wedlock childbirth also collapsed. By the mid-1970s three fourths of Americans said that it was not morally wrong for a woman to have a child outside marriage.

Once the social metric shifts from child well-being to adult well-being, it is hard to see divorce and nonmarital birth in anything but a positive light. However distressing and difficult they may be, both of these behaviors can hold out the promise of greater adult choice, freedom, and happiness. For unhappy spouses, divorce offers a way to escape a troubled or even abusive relationship and make a fresh start. For single parents, remarriage is a second try at marital happiness as well as a chance for relief from the stress, loneliness, and economic hardship of raising a child alone. For some unmarried women, nonmarital birth is a way to beat the biological clock, avoid marrying the wrong man, and experience the pleasures of motherhood. Moreover, divorce and out-of-wedlock birth involve a measure of agency and choice; they are man- and woman-made events. To be sure, not everyone exercises choice in divorce or nonmarital birth. Men leave wives for younger women, teenage girls get pregnant accidentally--yet even these unhappy events reflect the expansion of the boundaries of freedom and choice.

This cultural shift helps explain what otherwise would be inexplicable: the failure to see the rise in family disruption as a severe and troubling national problem. It explains why there is virtually no widespread public sentiment for restigmatizing either of these classically disruptive behaviors and no sense--no public consensus- that they can or should be avoided in the future. On the contrary, the prevailing opinion is that we should accept the changes in family structure as inevitable and devise new forms of public and private support for single-parent families.

The View From Hollywood

With its affirmation of the liberating effects of divorce and nonmarital childbirth, this opinion is a fixture of American popular culture today. Madison Avenue and Hollywood did not invent these behaviors, as their highly paid publicists are quick to point out, but they have played an influential role in defending and even celebrating divorce and unwed motherhood. More precisely, they have taken the raw material of demography and fashioned it into a powerful fantasy of individual renewal and rebirth. Consider, for example, the teaser for People magazine's cover story on Joan Lunden's divorce: "After the painful end of her 13-year marriage, the Good Morning America cohost is discovering a new life as a single mother--and as her own woman." People does not dwell on the anguish Lunden and her children might have experienced over the breakup of their family, or the difficulties of single motherhood, even for celebrity mothers. Instead, it celebrates Joan Lunden's steps toward independence and a better life. People, characteristically, focuses on her shopping: in the first weeks after her breakup Lunden leased "a brand-new six bedroom, 8,000 square foot" house and then went to Bloomingdale's, where she scooped up sheets, pillows, a toaster, dishes, seven televisions, and roomfuls of fun furniture that was "totally unlike the serious traditional pieces she was giving up."

This is not just the view taken in supermarket magazines. Even the conservative bastion of the greeting-card industry, Hallmark, offers a line of cards commemorating divorce as liberation. "Think of your former marriage as a record album," says one Contemporary card. "It was full of music--both happy and sad. But what's important now is . . . YOU! the recently released HOT, NEW, SINGLE! You're going to be at the TOP OF THE CHARTS!" Another card reads: "Getting divorced can be very healthy! Watch how it improves your circulation! Best of luck! . . . " Hallmark's hip Shoebox Greetings division depicts two female praying mantises. Mantis One: "It's tough being a single parent." Mantis Two: "Yeah . . . Maybe we shouldn't have eaten our husbands."

Divorce is a tired convention in Hollywood, but unwed parenthood is very much in fashion: in the past year or so babies were born to Warren Beatty and Annette Bening, Jack Nicholson and Rebecca Broussard, and Eddie Murphy and Nicole Mitchell. Vanity Fair celebrated Jack Nicholson's fatherhood with a cover story (April, 1992) called "Happy Jack." What made Jack happy, it turned out, was no-fault fatherhood. He and Broussard, the twenty-nine-year-old mother of his children, lived in separate houses. Nicholson said, "It's an unusual arrangement, but the last twenty-five years or so have shown me that I'm not good at cohabitation. . . . I see Rebecca as much as any other person who is cohabiting. And she prefers it. I think most people would in a more honest and truthful world." As for more-permanent commitments, the man who is not good at cohabitation said: "I don't discuss marriage much with Rebecca. Those discussions are the very thing I'm trying to avoid. I'm after this immediate real thing. That's all I believe in." (Perhaps Nicholson should have had the discussion. Not long after the story appeared, Broussard broke off the relationship.)

As this story shows, unwed parenthood is thought of not only as a way to find happiness but also as a way to exhibit such virtues as honesty and courage. A similar argument was offered in defense of Murphy Brown's unwed motherhood. Many of Murphy's fans were quick to point out that Murphy suffered over her decision to bear a child out of wedlock. Faced with an accidental pregnancy and a faithless lover, she agonized over her plight and, after much mental anguish, bravely decided to go ahead. In short, having a baby without a husband represented a higher level of maternal devotion and sacrifice than having a baby with a husband. Murphy was not just exercising her rights as a woman; she was exhibiting true moral heroism.

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