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Christmas survival
9 min read

Navigating your reality of Christmas

Recounting how Christmas changed for her, Lianne Howard-Dace re-evaluates the story and experiences of the season.

Lianne Howard-Dace is a writer and trainer, with a background in church and community fundraising.

A shopping street is crowded by taxi cabs and buses while above it a Christmas illumination of an angel hangs over all.
Jamie Davies, via Unsplash.

When I became a Christian thirteen years ago, I had to figure out how I might blend the sacred and the secular and rediscover what Christmas meant to me. 

Each December, millions of people celebrate this occasion, without faith or religion necessarily playing a role. Nearly 90 per cent of people in the UK celebrate Christmas each year, despite only around 46 per cent of people identifying as Christians and only 5 per cent regularly attending church.  These people create memories for their children because they cherish the ones their parents created for them. They decorate their house because it feels good to break up the darkness of winter with a riot of light and colour. They gather with their loved ones because it’s great to have an excuse to catch up. They eat and drink together because there are few pleasures greater than enjoying Yorkshire puddings and roast potatoes with your nearest and dearest. These experiences may even be quite spiritual, though they won’t always be recognised as such. 

Of course, the secular Christmas has taken on a mythology of its own. The image I have painted above is true, but it is not the whole picture. Whatever our beliefs, we need to be careful not to make an idol of the “perfect Christmas”. Not every family can afford to eat lavishly. Not everyone has people to celebrate with. For some, late December may mark a different anniversary altogether, and be a hard time of year. Even as someone who would readily say they love Christmas, I have had my fair share of family and romantic dramas that have made some years hard.  

If all you’ve ever known each Christmas is a turkey roast and visits from Santa, how can you look beyond the gift-giving and feasting which you have previously focused on, to discover the Jesus narrative within Christmas? You do not have to discard all those other things if they bring you joy, but you will start to notice that there is more going on in the marking of this holiday than you had previously considered.  

Underneath the tinsel and baubles you will find Mary and Joseph in a cattle shed, with the infant Jesus lying in a manger. Perhaps there will be animals, and visitors bearing gifts as well. And you will think that you know the story. You’ll remember your role as a shepherd in a school play and playing silent night on the recorder. You’ll remember that Christmas is all about the birth of Jesus. And Jesus is the son of God, or something like that? 

An all-powerful God could have revealed themselves to the world in an infinite number of ways. They could have come as a giant, towering over everyone. They could have arrived in a fiery chariot pulled by snow-leopards. They could have come riding a robot, ready to overthrow the Romans. 

If the school nativity play is your primary reference point for what Christianity has to offer your life, what does it really tell you about Jesus, and why he matters? Familiarity breeds contempt. So, many people see the nativity scene year after year and dismiss it out of hand. The son of God being born as a baby 2,000 years ago is just a fairy tale. It blends in amongst the snowmen and reindeer, as just another motif of the festive season. 

The nativity has become deeply sanitised and is so far removed from our modern way of life in the Global North, that for most it can be hard to see what it is trying to tell us. And if you never enter a church or meet any Christians, who is going to show you? Even as someone who was inquisitive and interested in spiritual things, for a long time, I compartmentalised the ‘churchy’ bit of Christmas as something for other people.  

In looking again at Christmas I have found that yes, it tells us a lot about Jesus. But also, it tells us so much about God the Creator. An all-powerful God could have revealed themselves to the world in an infinite number of ways. They could have come as a giant, towering over everyone. They could have arrived in a fiery chariot pulled by snow-leopards. They could have come riding a robot, ready to overthrow the Romans.  

But instead, at a time when 30 per cent of infants didn’t live to see their first birthday, God comes to earth as a baby. A tiny human with a soft bit on the top of his head and blurry vision, who can’t stay awake for more than an hour or so, and needs his nappy changed every half hour. That speaks to me not of a God who is far, far away in some magical realm, or a God who wants to control and oppress us, but of a God who deeply understands and respects the human experience. Who is right in the amniotic fluid, and the blood, and the crap of life, with us. 

Believing that Jesus is not just the Son of God but also, somehow, Godself at the same time, can take some serious mental gymnastics when you approach it as a cerebral exercise. But when you allow yourself to see and feel the stories afresh, and ask yourself what each of them is revealing about God, God’s relationship to us and God’s relationship to our world, it can start to make an odd kind of sense.   

I remember how full my heart was when I learnt that the name you’ve maybe heard Jesus called in carols – Immanuel – actually means ‘God with us’. For me, discovering this gem hidden, tucked away beneath what I thought I knew about Christmas, was extraordinary. Because, God had been with me all along. 

God was with me that first disorientating Christmas after my parents’ divorce. God was with me when I was 19 and randomly went to Midnight Mass after four gin and tonics. God was with me when the dog ate our gingerbread house, roof and all. And God was with me when I laughed at my nephew trying his first Brussels sprout. 

But the incarnation – the humanity of Jesus – being so pivotal to my faith, I actually find great comfort in envisaging Jesus’ birth as messy and complicated, as the rest of us. 

When I think about what it means for God to become a flesh-and-blood person, I find it can be helpful to imagine the humanity of the nativity. To add a layer of realism we don’t often see. Now, I have never given birth, but unlike many childless, or childfree, people in the West, I have witnessed a birth. With the confidence gained from having endured childbirth twice already, when my mum went into labour with my brother, she refused to go to hospital. I think her exact words to my dad were, ‘The midwife can ******* come to me’.  

This happened early one June morning in 1992, and I, aged six, was awoken around 6am by my mum’s screams. Going to investigate what on earth was going on, I was surprised to find my nan open the door to my parents’ bedroom. She told me that the baby was coming, and that I should go and occupy myself by getting ready for school.  

Having had the birds and the bees talk at a relatively early age, I was quite keen to get a good look at what was going on. I couldn’t see much, as there were four or five adults crammed into the modest master bedroom of our terraced house. But I could see my mum in the birthing position, I could sense the intense nature of what was happening. And, even after my nan closed the bedroom door, I could hear the noises. Few on-screen depictions of birth have come close to really capturing what happened in our house that morning, even on my beloved Grey’s Anatomy.  

I went downstairs to make myself a bowl of cereal. I have no idea what my then three year-old sister was up to at this point, but it’s quite possible she slept through the whole thing. After watching some classic 90s kids’ TV (Playdays, anyone?) I went and changed into my little grey skirt, white polo shirt and navy sweatshirt to get ready for school. I then went to brush my teeth, only to be confronted by a disembodied umbilical cord in our bathroom sink. I must have made a commotion at this stage, because I remember the midwife coming to explain what this peculiar mass of blood and veins and tissue was, and suggest that I brush my teeth over the bath on this occasion.  

My mum couldn’t avoid hospital completely, and she and the baby went off in an ambulance; she for stitches and he for routine checks. As they were bundled off, my nan and dad came downstairs carrying the double mattress which had just welcomed my little brother into the world. It was practically soaked through and they balanced it on top of the rotary airer in our garden to dry in the spring sunshine. Of course, I delighted in the opportunity to regale my whole class with all the graphic details of this experience when I eventually arrived at school. 

It seems to me that if Jesus himself is not spared a painful, bloody death, it’s unlikely to me that Mary would be spared a painful, bloody birth. Let’s not forget that the gospels were written by men, who were likely removed from the messy women’s business of birth, and perhaps wouldn’t have seen how powerful including this might have been. 

Perhaps people find it respectful to narrate the birth of Christ in a clean and painless way. If Mary is the virgin mother of Christ, or even immaculately conceived herself, then surely she would’ve been spared the birth pains which Eve inflicted on her sisters? But the incarnation – the humanity of Jesus – being so pivotal to my faith, I actually find great comfort in envisaging Jesus’ birth as messy and complicated, as the rest of us. Perhaps Mary had terrible morning sickness throughout her pregnancy like my sister, perhaps Jesus was born earlier than expected like my cousin, perhaps he had the cord round his neck like me.  

We can take what is good and true and life-giving from wherever we find it during the Christmas period. 

It would be easy to end this article by saying that once you become a Christian and you know what Christmas is really all about, you should become worried about it being secularised and not taken seriously. You should drastically change your own behaviours and practices around Christmas. But this would miss the fact that God was already with us all along, even if we didn’t realise it.  

For those of us with a foot in both camps of the sacred and secular Christmas, the journey doesn’t end when we find faith. There are certainly things we’ll want to re-evaluate - the rampant commercialism of Christmas for one thing - but we don’t need to throw the baby out with the bath water. Having unpicked what we thought we knew about the Christian Christmas, we can rebuild, reconnect and redefine what Christmas means to us now. We can create our own traditions and work out how to interweave them with those of our friends and family who may not share our faith.  

I’ve never actually been to church on Christmas morning, because there are traditions in my family that I do not want to miss. The croissants and jam we eat for breakfast in our PJs every Christmas morning are a sign of God’s abundance. I will find a lull in the day, when others are snoozing or watching TV, to pray a prayer of gratitude for them. I will have spent the month leading up-to Christmas attending services and events to help me reflect on and anticipate the coming celebration of Christ’s birth. I’ll also have eaten a chocolate every day to help me count down to the day itself. And after we’ve had our Christmas dinner on Christmas Eve (very Scandinavian, I know), I will go to Midnight Mass. That is the moment when it works for me to really immerse myself in the faith aspects of Christmas. 

We can take what is good and true and life-giving from wherever we find it during the Christmas period. We can celebrate loved ones reuniting, and that the days will soon become longer, not in spite of what we now know about God and Jesus, but because of it – because of the richness and new dimensions it adds to our lives. When we know that everything is a gift from God, it makes the presents our friends and family have chosen for us all the more significant, not less. 

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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