Explainer
Christmas culture
Creed
4 min read

Why Christmas Day is Christmas Day 

The seasons, festivals, historians and emperors have all influenced the date of Christmas.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

a had holds out a small wrapped Christmas present.

I came of age in the 2000s, a decade quite alien to us now. We saw ourselves as pioneers of technology, as the internet emerged in its prehistoric form. There was great optimism about the economy until it all went wrong in 2008. The New Atheism movement was roaring into public view, only to wane just as quickly the decade after. Growing up as a Christian, I remember spirited debates with my peers about whether science disproved Christianity and if God can be disproven. These questions have fallen out of view, just as many of its main proponents have too. Richard Dawkins rarely darkens the door of our TV screens anymore.  

However, one such moment of conflict sticks out in my mind. A friend announced to me that he had disproved the origins of Christianity. The night before he had discovered that in the third century Roman Empire, before Christianity became legal and the official religion, there was already a festival celebrating a god on the 25th of December. Instead of the birth of the Son of God, the Romans celebrated the rebirth of the Unconquered Sun — Sol Invictus. Then, in 336 under the first Christian Emperor, Constantine, that date was first celebrated as the day of the birth of Christ. My friend considered the case to be closed; surely the birth of Christ was merely a repurposing of an existing festival?  

Thankfully this shocking revelation did not pick away at the foundations of my faith. I continued, and still continue, to believe in and love the Christian God, as revealed in the Bible. Indeed, since that moment I have trained as a scholar in the history of the early Church, and have begun to see this question for what it is, a quirk of history.  

We, therefore, celebrate Christ’s birth on the 25th December on account of a quirk of history, a result of the way that Romans mapped significant events on to the waxing and waning of the light. 

The first claim that Christ was born on the 25th December appears in the third century. Sextus Julius Africanus, a Roman Christian historian, wrote an entire chronology of the world from creation to AD 221. He considered March 25th to be the date of creation, because it was the spring equinox in the Roman Calendar, a day which represents new life and new birth. For this reason, he likewise considered it to be the date of Christ’s conception in the womb. Crucially, nine months after that falls December 25th. Although I admire his logic, it is hardly a sound basis for establishing the date of our Lord’s birth. Indeed, other Christians didn’t accept this claim at the time either. 

As already mentioned, December 25th was a significant date in the Roman calendar already. It was the winter solstice, the shortest day of the year, after which the days begin to lengthen. It also shortly followed the popular Roman festival of the Saturnalia. Already endowed with significance, it is unsurprising that the Romans began to celebrate the rebirth of Sol Invictus, and the birth of another god, Mithras, on that date.  

At this time Christianity was an illegal religion, persecuted in some parts of the Roman Empire. However, in 312, the emperor Constantine converts to Christianity and in 313 makes it a legally tolerated religion. At this point he begins to invest the church and Christians with powers, wealth and privileges. Evidence from the Chronography of AD 354 suggests that Christmas was first celebrated on the 25th December in 336, during the reign of Constantine. Perhaps this was an attempt to dislodge existing pagan holidays, and replace it with a Christian one. Or, maybe the significance of the Winter solstice made that date most plausible. Indeed, it is easy to see how the commemoration of Christ coming into the world is particularly salient as the darkness begins to recede. The true answer is, of course, lost to history.  

We, therefore, celebrate Christ’s birth on the 25th December on account of a quirk of history, a result of the way that Romans mapped significant events on to the waxing and waning of the light. The true lesson here though, is that it simply doesn’t matter what the actual date of Christ’s birth was. Our records, and those available in the early church were simply not good enough for us to ever know. What matters is that God loves us so much, that he became human to bring us back to his side in everlasting joy and peace. We have no idea on what date Christ was born. But, each year the 25th December presents a time for us to remember that God became man, so that we might have everlasting life.  

Column
Books
Culture
Music
Space
6 min read

Magnificent or mundane: how do you react to the overview effect?

Creators of a book, an album and a game, can’t agree.
A small white space capsule orbits around the earth.
A SpaceX Dragon capsule orbits above Earth.
NASA.

As I write this, two Nasa astronauts – Suni Williams and Butch Wilmore (possibly the most USA-sounding name imaginable) – are preparing to leave the International Space Station to return to Earth. They were supposed to stay on the space station for eight days, but a technical problem with their spacecraft meant they’ve been stranded in space for nine months.  

Nine. Months.  

It sounds like the premise for a horror film. Two stranded astronauts slowly descend into madness as they become increasingly isolated and cut off from humanity. Written and directed by M. Night Shyamalan, probably. 

That’s a lot of time to be stuck orbiting Earth, gazing at the pale blue dot, contemplating our little corner of the universe. There’s a phenomenon called the overview effect: a shift in thinking astronauts go through when they see Earth from space. Putting the planet into the wider context of the entire cosmos leads observers to rethink humanity’s place in the universe, and what it means to be human.  I imagine Suni and Butch have had quite a bit of time to do just that in recent months.  

And the overview effect is currently having a bit of a moment in wider culture, too.  

If you went into any bookshop in the weeks before Christmas, you likely saw stacks of Samantha Harvey’s novel Orbital. It tells the story – although there’s not much by way of traditional ‘story’ in Orbital – of six astronauts on the International Space Station, pondering the nature of humanity from their lofty vantage point. 

Having won the booker prize, booksellers were keen to encourage readers to buy Oribtal. Praised by the Booker Prize judges for its “beauty and ambition”, I was looking forward to reading it, when I could. (And, let’s be honest, it’s a short book, which probably helped sales. Who has the time to read Ulysses or Infinite Jest in between school runs and weekly shops?) 

When I finally read it in January, I was left disappointed. I found a surprising lack of humanity in Orbital. With the exception of one astronaut – who spends her time mourning her recently deceased mother some 250 miles up in the sky – the characters feel somewhat paper thin; barely human. As the story meanders from person to person, never really settling on one character long enough to really develop them, it feels a bit … insubstantial?  

Maybe it’s a victim of its own hype. Maybe the not-quite-humanness of the astronauts and the listless quality of the narrative are intentional, designed to capture the ungrounded nature of life in space in both form and content. Maybe that’s being generous. Either way, I was left closing the book and shrugging my shoulders. If Orbital was supposed to offer a glimpse into that overview effect, it left me nonplussed. 

By coincidence, Steven Wilson has just released his eighth solo album: The Overview. Who is Steven Wilson, you ask? Only “probably the most successful British artist you've never heard of” according to The Daily Telegraph. With Wilson’s album currently sitting at #1 in the UK album charts, it doesn’t seem an unwarranted title.  

In The Overview, Wilson explores the overview effect across just two lengthy pieces of music. In the first, Wilson contrasts the mundanities of life on Earth with the chaos of space, calling us to attend to miracle that is humanity, thanks to lyrics written by the annoyingly talented Andy Partridge of XTC: 

“And there in an ordinary street  

A car isn't where it would normally be  

The driver in tears, about his payment arrears 

 Still, nobody hears whеn a sun disappears in a galaxy afar.” 

With Partridge’s help, Wilson manages to capture that humanity so sorely lacking in Orbital. Amid a sea of seemingly barren space, there is life here on this small, pokey planet, and the dramas and stresses of a man fretting about his debts don’t seem out of place, even when compared to the implosion of a star on the other side of the universe.  

All this makes a recent interview with Wilson all the more odd.  

When speaking about the overview effect, Wilson says “Your life is futile, it’s meaningless – and isn’t that a wonderful thing?” before doubling down: “And I do mean that. We spend so much of our time anxious, stressed, worried about things that sometimes we just need an injection of perspective.” 

For Wilson, this perspective – this overview effect – is liberating. It allows to stop navel-gazing, to pick our heads up and to realise our freedom to do whatever we want. After all, everything’s just matter in varying different arrangements:  

“The clouds have no history 

And the sea feels no sorrow 

The oxygen recycled 

And the atoms are just borrowed,”  

At the climax of the album’s second epic, Wilson sings – with more glee than it warrants –  

“There's no reason for anything  

 Just a beautiful infinity 

 No design and no onе at the wheel.” 

 Cheery stuff. 

It's easy to see why, in the same interview, Wilson rails against the concept of religion: “Religion is a classic manifestation of cosmic vertigo … To even understand even the very simplest, most basic facts about space, should be enough to disabuse anyone of the notion of God. But apparently it doesn’t.” 

It all sounds a bit like an angsty teenager encountering the New Atheists for the first time. And this edge to Wilson’s work jars uncomfortably with the humanitarian streak that runs through his music. Wilson wants (rightly) to celebrate the mundane, the ordinary, and the human. And simultaneously wants to tell us that we’re just … stuff. Just atoms arranged in one way or another. Wilson pays lip-service to the humanity missing from Orbital, but it’s superficial.  

And all this reminds me of my favourite video game ever: 2019’s The Outer Wilds. (Not to be confused with 2019’s also-space-based-but-decidedly-mediocre The Outer Worlds). In The Outer Wilds, you play as an alien with a ramshackle spaceship who sets off to explore their solar system. Except every 22 minutes, the sun explodes. When it does, you wake up on your home planet and start again. 

You use these 22-minute loops to explore the solar system, flying manually from planet to planet, and exploring every nook and cranny of them in the process. You see awe-inspiring sights and are confronting with the absolute otherness and horror of the vastness of space.  

And yet. As you explore, you come across notes left by long-forgotten civilizations. Mundane lists and frustrated exchanges between colleagues. You come across life, in other words, even if you don’t meet many other actual people. I can’t say much more than this without ruining the game: The Outer Wilds depends on your real-world knowledge to progress, and so, the more I tell you, the more I ruin.  

But, suffice it to say that this is exactly what is missing from Harvey and Wilson’s work. While they both ostensibly want to remind us of the value and the miracle of humanity, both leave me feeling cold. Both leave me with the impression that life is little more than atoms arranged one way and not the other. Just stuff.  

But in The Outer Wilds, the sun’s implosion – and all that is lost with it – is a genuine heartbreak every single time. I think about all the stories I’ve read, and the people I’ve met, and how it’s all about to be lost as a bright supernova washes over me. And then I wake up again at the start of the cycle, relieved that all is not lost.  

If you can, you should play The Outer Wilds. It’s beautiful. Really, really beautiful. More so than Orbital or The Overview. Our place in the universe can be overwhelming; we’re small, and the universe is strange and scary. But we’re not just insignificant stuff. Our stories and the people we share them with matter. And Outer Wilds captures this tension impeccably. Only it captures life’s miraculous nature in the way it deserves. 

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