Chesterton's entirely original approach to the question of the family
was based on the seemingly paradoxical notion that the great thing about
family life is that it requires us to give up control over our lives,
which is to say give up our freedom. Yes, Chesterton says that too much
freedom (too much control ) is boring.
A great part of life should be settled for us without our permission.
This may be a nuisance if we want life to be a system. But it is essential
if we want life to be a drama.
Here Chesterton is attacking the modernist notion that connects happiness
with something called "liberty" and unhappiness with something called
"limitation." But the idea of perfect freedom and escape from all limitations
is a delusion. Liberty, Chesterton argued, is merely the right to choose
between one set of limitations and another. It is limitations, he wrote,
that create "all the poetry and variety of life."
The family ideal Chesterton was defending cannot be equated with the
industrialized consumer family, where the family members leave the home
each morning by the clock and on a strict schedule to pursue careers,
education, recreation, and so on. Chesterton's ideal was the productive
home with its creative kitchen, its busy workshop, its fruitful garden,
and its central role in entertainment, education, and livelihood. Unlike
the industrial home, life in a productive household is not amenable to
scheduling and anything but predictable.
Gilbert! is emphasizing Chesterton's Distributist ideas because of the
urgent need for us to get our basic idea of the family straightened out.
For those who complain of the family's uncongenial surroundings, Chesterton
pointed out that "to be born on this earth is to be born into uncongenial
surroundings."[JP]
[And for further reading in Chesterton's works, see "On Certain Modern
Writers and the Institution of the Family" in Heretics, "The Drift from
Domesticity" in The Thing and "The Story of the Family" in The Superstition
of Divorce.]