In observation of the Christmas season this week I will take a brief break from my Ray Bradbury series to discuss what I find to be a very poingiant if somewhat ironic Christmas tale.
Sometime in Autumn of 2004 while studying abroad in London some friends and I decided to take a weekend trip to Dublin. Naturally our first destination was the Guinness Brewery and after some wandering back and forth across the Liffey, stopping whenever we saw landmarks from Ulysses imbedded in the sidewalk and keeping as warm as possible we arrived at the brewery gates. After taking the brewery tour we boarded an elevator which took us to a circular room overlooking the entirety of Dublin. We were handed our complimentary pint and walked over to one window to raise our glasses to Arthur Guinness. When I looked up I saw that the glass had frosted letters on it which read: "The Wellington Monument wore a gleaming cap of snow that flashed westward over the white field of Fifteen Acres." Looking past the letters I could see a stone spire peeping up amidst the houses and trees of darkening Dublin and though snow was not yet resting upon it my spine chilled nonetheless.
I am sure that this experience is what first brought me to "The Dead" around Christmastime. But is its appropriateness within human experience that continues to draw me back. If you think about it, stories like The Grinch and A Christmas Carol tend to emphasize the redemption of fallen mankind through the poigniant change of attitude in each tale's protagonist; a theme which is undoubtedly repeated in almost every modern holiday film in which Christmas as a concept must be 'saved' again and again.
"The Dead" offers a very different story. Purposefully placed at the end of The Dubliners "The Dead" emphasizes an ultimate acceptance of the Wintertime of life. Winter is not a time of rebirth and renewal but a time when leaves fall dead upon the ground and trees remain bare and lifeless until the new year allows the cycle to begin again. But this is not an ending to be mourned, it is a simple fact of life that follows poigniantly after all other points have been made, accounts have been settled, and all inconsistencies in life must be accepted for what they are since our time left is too short to pine away. Gretta mourns the death of Michael Furey not because she wishes him alive but because he was a chapter in her life that has unalterably closed. Gabriel, in a way, represents the difficulty which we have in accepting the winding down of the clock.
Don't call me Scrooge just yet. I'm by no means all gloom and doom around Christmas; very much the opposite. But perhaps it is significant to remind ourselves of the evanescence of life before we forget it completely upon the breaking of Spring.
For your viewing pleasure: a photogram of G. Matthew Varner metaphorically
violating the shoulder blades of James Joyce but thinking about Jackson Pollock
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Joyce, James. "The Dead." The Dubliners. Dublin: Trinity College Press? date?
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