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Christmas Stories

christmas-book

Everyman’s Pocket Classics

Christmas tales are meant to cheer us and to help usher in the Christmas spirit; yet, every favorite tale embodies a degree of struggle, an element of danger or some darkness that must be gotten through. There may be magic and wonder leading up to the final, satisfying denouement of Christmas morning – upon waking to find everything wished for sitting under the starry lights of the Christmas tree, but the waiting is always prolonged.
Most of the stories in the Everyman’s Pocket anthology follow this pattern distinctively, in 20 different ways. From Charles Dickens to Richard Ford the inveterate Christmas struggle is traced.

Dickens and Early Russian Writers

The anthology begins with a Dickens tale called The Story of the Goblins Who Stole a Sexton (from The Pickwick Papers). Charles Dickens was only 25 when he wrote this playful tale, and the ironic humor that we have come to love in just about every Dickens story is delightfully fresh in this selection from his first novel. It is a Christmas Eve ghost story amidst a nighttime landscape of snow and stars and a bad-tempered old grave digger named Gabriel Grubb. A bit like A Christmas Carol, Grubb is visited, in this case, by a fantastical goblin king and his goblin courtiers. They sing terrifying ghostly songs to Gabriel Grubb and, rather violently, teach him a lesson about life and his disagreeable attitude toward other people. Dickens, the eternal humanitarian, makes a case for women as being the most compassionate of the human race.

He saw that women, the tenderest and most fragile of all God’s creatures, were the oftenest superior to sorrow, adversity, and distress; and he saw that it was because they bore in their own hearts an inexhaustible well-spring of affection and devotedness.

Of the Russian writers in the anthology, Nikolai Gogol is most similar to Dickens, yet Gogol’s devils and witches of Christmas Eve are finally conquered by the, mostly benevolent, characters of a snowy village near St. Petersburg in The Night Before Christmas. This is a famous Russian fairy tale about a gifted painter and blacksmith who paints frescoes of the saints on the church walls and who is therefore most sought after by the devil. This devil, whose lover is a witch, steels the moon on Christmas Eve and tempts the best, god-loving people of the village. Another delightful, fantastical tale!
Leo Tolstoy’s Where Love Is, God Is and Anton Chekhov’s Vanka are both heart-warming stories that evoke questions of morality, spirituality and the love of God and people.

Vladimir Nabokov’s more modern narrative reflects an elegant mastery of story-telling with a unique, stream-of-consciousness style in the beautiful yet tragic story titled, Christmas.

The night was smoke-blue and moonlit; thin clouds were scattered about the sky but did not touch the delicate, icy moon. The trees, masses of gray frost, cast dark shadows on the drifts, which scintillated here and there with metallic sparks.

The three Russian writers are similar to Dickens in their sympathy toward humankind; they are quite clear about the virtues of compassion. In the modern tales, however, the narrative of compassion and human mercy is more implicit.

British Writers Apart from Dickens

When it comes to expert story-writing, leave it to the British. And when it comes to writing a great detective yarn, leave it to Arthur Conan Doyle to tell an amusing Sherlock Holmes story. The investigation in The Blue Carbuncle takes place in the bustling streets of London, in Covent Garden Market, two days after Christmas. Holmes is just as we like him: clever, articulate, circumspect, and yes – merciful.

Anthony Trollope’s whimsical Christmas at Thompson Hall mixes suspense with a smattering of cheeky humor. His name, Trollope, like his writing style, gallops or trots along and is as ever: impeccably English. And Evelyn Waugh’s brilliant Bella Fleace Gave A Party takes place in Ireland, outside Dublin in the Market town of Ballingar where a wealthy, eccentric lady decides to divert death and instead throw a party. The story is expertly written, detailed and surprisingly ironic. Elizabeth Bowen, who always wrote a flawless tale, is somewhat dated in Green Holly, yet the witty cadence makes this bizarre ghost story worth the read. And Muriel Spark whisks the reader along in Christmas Fugue. It is a romantic tale, a travel piece, in which the main character, Cynthia at twenty-four is suspended in a kind of limbo or liminal zone up high in the air on a passenger jet. Questions of belief… in Christmas, in the start of a new life, in a love affair and in reality itself are raised in an unforeseen way.

American Writers

Willa Cather, a favorite American poet and novelist, had a beautiful way of drawing in the reader and maneuvering the plot. The Burglar’s Christmas takes place on Christmas Eve in Chicago. Reminiscent of Theodore Dreiser’s Sister Carrie, juxtapositions of excitement vs. safety, and poverty vs. success, drive this touching story along, together with the prevailing theme of motherhood and mother-son relationship.

John Cheever’s excellent Christmas is a Sad Time For the Poor examines the benevolence of people in a New York City high-rise apartment-building one day out of the year when these sophisticates have the chance to give. And Truman Capote’s now famous A Christmas Memory is the striking memoir about a seven-year-old boy and his elderly cousin. Capote’s style is compelling from the first sentence:

Imagine a morning in late November.

This poignant tale is a must-read at Christmastime.

John Updike’s evocative The Carol Sing takes us through a melancholy surveillance of the cycles of life, death and seasonal holidays in highly intelligent, sharply witty prose.

Strange people look ugly only for a while, until you begin to fill in those tufty monkey features with a little history and stop seeing their faces and start seeing their lives.

Grace Paley’s The Loudest Voice is about a Jewish schoolgirl, Shirley, who has the most resonant voice in a Christmas play. Her family and the Jewish families in her neighborhood struggle to accept their children being in a Christian play. Shirley, representing the only first-generation American in her family, is open-minded, curious, helpful and resoundingly confident.

Pulitzer Prize and PEN/Faulkner Award winner, Richard Ford depicts a divided American family mired deeply in issues. In Creche, the main character, Faith, a successful L.A. attorney, narrates the story amidst growing resentments, threats and dangers. Yet, by Christmas Eve, the snow still glistens over everything and the children are tucked away safely in their beds. Ford holds our interest and sustains a measure of hope with his buoyant prose, as when Faith goes for a solo, nighttime ski-run:

Here the snow virtually hums to her sliding strokes. A full moon rides behind filigree clouds as she strides forward in the near-darkness of crusted woods.

Canada

Nobel Prize winning, Canadian author, Alice Monro’s gamey tale is a bold and effective portrait of human nature. The Turkey Season describes the acute observations of a fourteen-year-old girl who is surrounded by small town people who tend to be decidedly small-minded and cruel. Still, Christmas appears to win in the end.

These stories represent a fine collection of esteemed writers. I have not mentioned all of the stories here, some of them are simply short and sweet, but for a good measure of the Christmas spirit and a reminder of what it is to have a sympathetic heart, all of them are worth reading.

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Elizabeth Bowen’s Collected Short Stories Should Be Required Reading

Elizabeth Bowen is the kind of writer who teaches us how to write short stories. Born and raised in Ireland, when Bowen married, she moved to London where she lived and wrote before, during and after the Blitz. Her settings of half-bombed out homes of the aristocracy, small London flats and families getting by in their survivalist modes, still taking tea at four o’clock, in the suburbs and in the countryside merely indicate what has happened and what may take place at any tense moment around the clock. Her beautiful landscapes hardly evoke war but rather burst forth in light and color, nature, flowers, trees and life.

Bowen’s characters are very English. Their thoughts and dialogues rollick along in quick, cheeky cadences. These are often ordinary settings made rich with Bowen’s sumptuous depictions. Sunday Afternoon takes place in the Irish countryside outside Dublin. Henry is from London on a short visit after having lost his flat and everything in it to the Blitz. His aristocratic friends living in Ireland do not know quite how to feel about the bombings. In one of Bowen’s many Jamesian moments, out on some green, sloping lawn, one of the picnickers says, “Henry’s not sure… he looks pontifical.” The writer adds to the unsettling atmosphere by creating a beautifully turbulent milieu out of the landscape.

Another cold puff came through the lilac, soundlessly knocking the blooms together…
a breath of coldness fretted the edge of things.

Henry, slow to voice his quick thoughts, ruminates to himself: With nothing left but our brute courage, we will be nothing but brutes.

He seems duty-bound on returning to London. Bowen is a romantic; the strain of little romances electrifies nearly every story. Love does not stop for war. Hardly in an amorous frame of mind, will Henry be paired with Mrs. Vesey, who is older, or with the very pretty and spirited Maria, who is much younger and inexperienced? Maria thinks that London will be an adventure with heroes.
She looked secretively at her wristwatch. Henry wondered what the importance of time could be.
Mysterious Kor is said to be among Bowen’s very best short stories. Something of the supernatural enchants this tale, with its moon and its Mysterious Kor, a forsaken, possibly imaginary place, alluring the three main characters. On this night, the blackout is ineffectual, as there is a full, bright moon shining down on all of London.

London looked like the moon’s capital … from the sky, presumably, you could see every slate in the roofs, every whitened kerb, every contour of the naked winter flowerbeds in the park; and the lake, with its shining twists and tree-darkened islands would be a landmark for miles, yes, miles, overhead.

From the Underground, a young couple emerges into the shadowed, moonlit streets, arm-in-arm. Arthur is a soldier and Pepita is his diminutive yet headstrong girlfriend. They seemed to have no other destination but each other.

The atmosphere of the quiet, illuminated night is heightened by small, singular acts, like a woman peeking out and calling her cat timidly, a clock striking midnight and resounding in the dazzling distance.

Pepita’s roommate, Callie, has not yet met Arthur and she anticipates him as if she were in love. She goes to bed, tired of waiting up for them, and the moonlight takes on a new significance. Diverse and brilliant light pervades Callie’s room. Searchlights protecting the city move across the spaces and crevices not covered by the blackout curtains, and moonlight shines-on invincible and powerful.

Before sunrise, Callie hears Arthur lighting a cigarette. She steps out of her room, still glowing, it seemed, from the moonlight that infused her as she slept. They have a quiet, friendly chat in the otherworldly shadows of her living room, and Arthur tells her about Mysterious Kor. Callie asks, “the core of what?” She has never heard of it. Arthur construes that Kor is where Pepita goes when she sleeps so soundly. When Callie tells him that Pepita does not always sleep so soundly, he remarks, “then she doesn’t always make it”. Their conversation eventually trails off, and Arthur asks Callie, “So, how’s your moon?” She marvels over the familiarity, ‘her moon.’

“Not so strong,” she says.

Yet, Callie’s naïve question to Arthur, “The core of what?” is meaningful. This mysterious place, Mysterious Kor, seems to be at the core of something large… as large as the human spirit or humanity. One interpretation suggests that Elizabeth Bowen’s three characters are actually in Purgatory working out the unfinished business of their previous lives when they were killed in the Blitz.

Other stories, not part of the War Years, are among my favorites: the precision of Ann Lee’s, the fearlessness of The Parrot, and The Storm, which is a bit of a ghost story about an English couple who travel to Rome. The story begins with some harsh bickering, a startling lover’s quarrel:

“Don’t come near me,” she said, turning sharply. “I hate you! Why do you keep on following me about?”

The husband takes this in stride. He is used to her minor explosions. However, their histrionics have been overheard by three Danish girls who sit by the fountain taking pictures of each other. Here the writer switches perspectives, first from the wife’s point of view, then the husband’s and finally from the perspective of the Danish travelers. “The English lady seemed to be finished scolding her husband.”

The couple is exploring a villa, and as they argue a wind seems to be following them through the many rooms, terraces and the chapel. She has become so annoyed by her husband that she tries to lose him, but then this wind harasses her. She is convinced that the wind is the ghosts of nuns. Then she panics when she realizes her husband is nowhere to be seen. It is a story of emotions, of power-struggles – who can win-over whom? And finally, of people who need each other despite resentments great and small.

Bowen uses powerful personification of windows, the sky, the air and rooms, not only to create a beautiful, spellbinding landscape but also to heighten suspense and intrigue.

The air was warm and tense, stretched so taut that it quivered… forms assumed a menacing distinctness, blade-like against the architecture of the clouds… the insistence of the fountains… the dark room within was attentive… little bald, square windows, lashless eyes staring out on to the darkening sky.

The writer’s best stories portray her connection with nature and landscapes, and her brilliance at conveying dialogue and the feelings of adults as well as of children. The stories about children, for example, Charity, The Jungle and The Visitor present extraordinary perception for both the inner and outer dramas that children experience along with their childish and also very mature responses.

The happiness that she had been waiting for all day seemed to have something to do with light behind the trees, the rooks, and the dry chintzy smell of the curtains when she leant back her head against them into the room. Also, there is something very heroic about dangling one’s legs at a height.

– from Charity

The Romance and Comic Genius of Charles Dickens

Charles Dickens, 1812 – 1870

When Charles Dickens published Little Dorrit , the 826-page novel originally appeared in Dickens’ own, widely popular, monthly periodical in a series of installments, short pieces, or “teaspoons” as Dickens himself called them, from 1855 to 1856, including illustrations by Phiz.

A rags-to-riches tale, the first half of the book introduces the eccentric, intriguing Dorrit family, their heart-rending plight and a carnival of delightfully Dickensian characters – those dubious people who march through the life of the fallen William Dorrit inside the Marshalsea, the same debtors prison in which Dickens’ own father paid time for debt. The laggards, leeches and extortionists, the hapless, foolish, the large-hearted and everlastingly colorful characters are lovingly portrayed in the darkness and light of nineteenth-century London.

William Dorrit’s daughter, Amy, “Little Dorrit,” is the innocent but worldly girl who watches this pageant of people, loving some of them and fearing others. Soft-spoken and petite – indeed, so petite that she appears to be a child at first, Amy is hardly aggressive, though she is certainly industrious, in providing for herself and her father as a seamstress outside the prison, and assertive in her undying desire to comfort people, especially her father for whom she shows an extraordinary compassion and care; and in her benevolence for humankind in general and the deep love she feels for Aurthur. She does assert these interests but in a clearly humble way. Amy is utterly poetic.

As the tender relationship between Arthur Clennam and Amy Dorrit becomes the hoped-for, romantic denouement of the love-story portion of the novel, Dickens tantalizes us to the very end. It seems that they are meant for each other: Arthur’s childhood was one of harshness inside the dark house of his unaffectionate parents, while Amy was born in the Marshalsea Prison and grew up there never knowing any other kind of life until her father is able to claim his fortune, with the help of Arthur, as it turns out. Thus, Amy and Arthur are two tattered yet good-hearted souls isolated in a scheming world. Dickens has great fun devising numerous sub-plots that connect and interweave their story.

Amy writes a few bittersweet letters to Arthur when she is away with the Dorrit clan traveling the European continent where she sees, “misery and magnificence wrestling with each other;” these letters are forthcoming, poignant and touching, as they reveal Amy’s loneliness and ultimate difficulty in adjusting to the Dorrits’ new, opulent way of life – traveling through the sublime scenery of Venice and Rome; still, Arthur may never have known the exact nature of Amy’s love for him had it not been for a go-between, the devoted John Chivery, (Little John), who also serves as another supreme example of Dickens’ brilliant skills of characterization.

Fanny and Amy Dorrit, two sisters were never so un-alike.

Other exceptional characters become well known and fond personalities: Fanny Dorrit, Amy’s sister, a selfish and pretentious opportunist who can also be likeable if only for her entertaining dialog; Afry Flintwinch, Arthur’s childhood nurse who is continually throwing her apron over her face to save herself from witnessing the sordid things taking place in that infamous house; Flora Finching, the annoying but loveable young widow who has designs on Arthur and whose delightful monologues add high comedy; Monsieur Rigaud, that evil, ubiquitous presence who becomes the irresistible mystery of the tale, as continually, “his mustache went up under his nose, and his nose came down over his mustache;” and many others with curious and witty names; Mr. Tite Barnacle, Mr. Sparkler, John Baptist Cavalletto, Mr. Merdle, a white collar crook (not unlike Rupert Merdoch, the 21st century swindler), The Meagles, “Tip” and “Pet”.

Dickens’ descriptions and dialogs are profoundly hilarious, as is the Circumlocution Office, an impossible bureaucracy of tangled red tape, its only function being that of a satire on government and society.

But William Dorrit is the most humourous and tragic of characters. Dorrit was probably just as silly and pompous before he went into the prison as he was after coming out twenty years later a much wealthier man, just as his mental infirmness probably began inside the prison walls and became more and more apparent as he forced himself to adjust to his new way of life, which is really only a new kind of prison in which he and the false characters with whom he associates prance around in desperate displays of status.

It seems a wonder that William Dorrit produced such a loving and selfless daughter as Amy Dorrit, his one daughter who was born inside the Marshalsea. This father-daughter relationship, in part, resembles that of the mad King Lear and his best daughter, Cordelia, the daughter who really loved him most. Like Cordelia, Amy Dorrit is admonished, though lovingly, by her sister and ludicrously blamed by her own father simply because it isn’t in Amy to act the part of a privileged princess. Instead, Amy, in her genuine humbleness, only reminds her father of his past by being who she is.

‘Amy,’ he returned, turning shot upon her. ‘You-ha-habitually hurt me.’

‘Hurt you, father! I!’

‘There is a–hum-a topic,’ said Mr Dorrit, looking all about the ceiling of the room, and never at the attentive, uncomplainingly shocked face, ‘a painful topic, a series of events which I wish–ha-altogether to obliterate . This is understood by your sister, who has already remonstrated with you in my presence; it is understood by your brother; it is understood by-ha hum-by every one of delicacy and sensitiveness, except yourself-ha-I am sorry to say, except yourself. You, Amy-hum-you alone and only you-constantly revive the topic, though not in words.’

Thus Amy becomes the scapegoat for people of ambiguous morality and strictly guarded family secrets.

After reading Little Dorrit, the question lingers: in order for the world to produce a person as loving and selfless as Amy Dorrit, must she be raised in an oppressive environment where most of the creature-comforts in life are absent and she must create her own comfort and happiness based on the only natural love received in early childhood.

Charles Dickens: “A Letter From Little Dorrit” ~ from the novel, Little Dorrit

I hope you sometimes, in a quiet moment, have a thought for me… I have been afraid that you may think of me in a new light, or a new character. Don’t do that, I could not bear that – it would make me more unhappy than you can suppose. It would break my heart to believe that you thought of me in any way that would make me stranger to you, than I was when you were so good to me. What I have to pray and entreat of you is, that you will never think of me as the daughter of a rich person; that you will never think of me as dressing any better, or living any better, than when you first knew me. That you will remember me only as the little shabby girl you protected with so much tenderness, from whose threadbare dress you have kept away the rain, and whose wet feet you have dried at your fire. That you will think of me (when you think of me at all), and of my true affection and devoted gratitude, always, without change, as of
Your poor child,
Little Dorrit.