Santa Claus and how not to give gifts

John Barclay unpacks the nature of gift-giving and finds Santa’s list is moralising in comparison to an older unconditional way.

John Barclay

John Barclay is Lightfoot Professor of Divinity at Durham University. He researches the history and thought of early Christianity and early Judaism.

A Santa tiptoes in a darkened room carrying a lamp and holding up a finger in a gesture of silencing

Anderson W Rangel on Unsplash.

Christianity is a religion centered on the notion of gift. It is no accident that Christmas, linked with what Christians consider the ultimate gift - the birth of Jesus, is a festival of gift-giving. All sorts of historical and cultural traditions have accumulated around this festival, for good and ill, but one, it seems to me, has become especially problematic: the myth of Santa Claus. The form of giving we associate with Santa Claus is the very opposite of what counts, in the Christian tradition, as a good gift. Here’s how.

In the English-speaking world, Santa Claus (originally St Nicholas) is the man in the red coat and white beard to whom children address their requests for presents. For many, he becomes a bit like God, and as such, shapes their image of God as normally absent, occasionally useful, and generally benign. But if Santa is the distributor of gifts at Christmas, two things mark his giving: first, he gives according to merit; second, his giving is one-way and one-off, creating no relationship of trust, love, or obligation.

The famous Santa song is better known in North America than in the UK, but it has lasted long in the popular imagination. It has also shaped our ideas of gift-giving. Santa, you will recall, has a list of who’s been ‘naughty or nice’, and is using that list to direct his gifts. He is all-seeing and all-knowing (‘he sees you when you’re sleeping; he knows when you’re awake’), so his merit-judgments are unfailingly correct: he ‘knows if you’ve been bad or good’ – so ‘be good for goodness sake’! Santa’s gifts, in other words, are merited and conditioned. At one level, this is an adult ploy to get children to behave at Christmas. But at another, it reflects a remorselessly moralizing society, quick to judge who is deserving of praise or blame.

As Harvard philosopher Michael Sandel has argued in The Tyranny of Merit, we have allowed the notion of ‘merit’ to govern so many aspects of our society that those who miss out on social and economic success are led to believe that it is really their fault. Santa is the projection of our sense that nothing good comes our way unless we somehow deserve it.

The other feature of Santa’s giving is that it is all over in a trice: it creates no relationship and establishes no long-term connection. The children who write letters asking for presents are not encouraged to enquire after Santa’s wellbeing during the rest of the year. There is no friendship, no commitment, just one-way gifts that arrive without reciprocity or interpersonal depth. That fits Western individualism, where we dislike the constraints created by long-term relationships. We will take a gift ‘with no strings attached’ because thereby we retain our autonomy, our power to choose, our independence.

This was a gift ‘with strings attached’ – not unwelcome new obligations that forced them to do what they hated, but strings of love that enabled them to be better and fuller versions of themselves.

he Christmas event was originally understood as a gift of a very different kind – in fact the inverse of the Santa-gift. What the early Christians celebrated about the gift of Jesus was that it was completely unconditioned: it was given without regard to merit or desert. Even in ancient times that was an unusual, even a bizarre, form of gift: surely it would make better sense to give to those who were worthy of the gift? But what the Gospel writers and St Paul celebrated was that the gift took effect in unexpected, undeserving places – with uneducated fishermen, with women as much as men, with non-Jews as well as Jews, with the social underdogs and the morally dubious.

This was a gift that had nothing to do with merit: it was given irrespective of worth and in the absence of worth. Paul the persecutor received this gift; so did Mary, a village teenager; so did Peter, who let Jesus down time after time; so did idolatrous non-Jews; so did Zacchaeus (a tax-collector – about as popular as a loan shark today)). This was not because the gift was given randomly. It was a strategic policy to make the gift available to all. As an unconditioned gift, not dependent on gender, cultural background, social level, or moral achievement, the gift of the ‘good news’ belonged to no-one – and could go to everyone.

As a result, the early Christians formed new kinds of communities that crossed most social boundaries, and excluded no one on the basis that they were not good enough to join.

And was this a ‘Santa gift’ in the sense of creating no relationship, no ties, no expectations? Far from it! The gift of Christ was understood to transform those who received it, because ultimately it was the gift not of a thing but of a person. Where Santa disappears for eleven months of the year, the Christians found that Jesus stuck around, not as a threat but as a transformative presence (in the form of ‘the Spirit’), who slowly, subtly, but definitively made them different than what they were before. This was a gift ‘with strings attached’ – not unwelcome new obligations that forced them to do what they hated, but strings of love that enabled them to be better and fuller versions of themselves. The Christ-gift drew its recipients, as theologians would later say, into the life of God, which is the best imaginable place for humans to be.

So, how might you give gifts differently this Christmas? Well, you could go beyond ‘the usual suspects’ and include some you would not normally include on your giving-list; why not reach out, with some gesture of goodwill, to someone with whom you have had a difficult relationship this year? You could try to make your gifts more personal, as a token of who you are and who they are, and you could make an effort to continue the friendship beyond the ‘once a year’ gesture. And if someone gives to you and you haven’t thought to give to them - a common source of embarrassment - no problem: take it as an invitation to friendship, to which you can always respond at some other time and in some other way. There is always an opportunity for change and growth.

An unconditioned gift that changes who you are - liberating and transformative, underserved and perpetually effective. There might be reasons why we prefer the ‘no commitment’ gifts of Santa Claus, but we also know that the most meaningful gifts are personal; they create or sustain ties of friendship; even if they are things, they represent an interpersonal commitment of love. Christmas is always a mixed blessing, but it is not helped by the Santa songs (or, indeed, by some terrible lines in Christmas carols!). But at its origin it carries the tune of a different kind of gift, which takes no account of desert but changes its recipients in ways they can never forget.

Interview

Books

Creed

S&U interviews

9 February 2024

9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan.

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.”

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”

C.S. Lewis.

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ.

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”.

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”.

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.”

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith.

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.”

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.”

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.