Father Christmas’ Childhood

Father Christmas’ Childhood

Father Christmas’ Childhood

A review of Matt Haig’s A Boy Called Christmas (HarperCollins Publishers Ltd, 2015).

By Derek Newman-Stille

Matt Haig’s adorable children’s book A Boy Called Christmas sets out to fill in the details of holiday tradition and fill in gaps in the folklore and mythology of Father Christmas (the British name for Santa Claus), and specifically to fill in details that would be relevant to his target audience by asking the question “What would Santa Claus’ youth be like?” The story starts with an 11 year old boy living in poverty who has been nicknamed Christmas because his birthday fell on Christmas and takes him on a magical quest fuelled by his belief and his desire to see his father who had gone to the North. Like many magical quest narratives, he undergoes the traditional fantasy narrative of picking up helpers along the way. These helpers allow him to encounter the “Other” and learn from those experiences, becoming changed by the animals and supernatural characters he brings along with him on his voyage.

Haig follows the tradition of writing Santa’s life as a fantasy tale that was established by L. Frank Baum in The Life and Adventures of Santa Claus. He provides details to his tale, specifying where each of Father Christmas’ traditions come from as he battles the monstrous and spreads joy. Most tales have tended toward leaving gaps in knowledge and leaving it up to the reader’s imagination, rather than setting down specific origins for Santa’s behaviour as Baum and Haig have done. Haig’s tale details how Father Christmas first gets his red hat, why he first begins putting toys in stockings, how he comes to acquire toys from elves, how he begins to use his distinctive laugh, and, perhaps most importantly, what motivates him to believe that he needs to spread joy through gift-giving.

Yet, A Boy Called Christmas isn’t just a detailled mythology. In choosing a boy living in poverty with only a turnip carved like a doll as a toy, he brings attention to issues of poverty and how they affect children, while also bringing attention to the fact that many human “naughty” behaviours have come from living under constant oppression. His character, Father Christmas, uses his knowledge of human nature to begin searching for ways to increase human happiness and decrease misery and he situates expressions of joy and caring as the central feature for a better society (one that shares resources and takes time to enjoy life).

Haig initially portrays the elves in this narrative as people who have become xenophobic and joyless as a result of fear mongering by the elf newspaper and explores the power of overthrowing regimes that are based on isolationist policies and racism. As much as this is a story about Christmas, it is also a tale about revolution and calling into question hate-based and fear-based discourse.

This is a book of enlightenment – not just because of the happy, joyful content, but because it reminds readers that they have the power to stop being afraid and make positive changes. It is a book about growing up as an individual, but also growing up as a society.

To discover more about Matt Haig, go to http://www.matthaig.com

To find out more about A Boy Called Christmas, go to http://www.matthaig.com/a-boy-called-christmas/

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Superhero Santa

Superhero Santa

Superhero Santa

A review of Grant Morrison and Dan Mora’s Klaus: The New Adventures of Santa Claus (Boom! Studios, 2018)

By Derek Newman-Stille

I have to admit that I have an absolute love for Yule holiday traditions and stories, especially ones that play with and complicate traditional narratives. There is something otherworldly about the holidays and they inspire a need to read – particularly for those of us in the Northern hemisphere during Yule. The shorter days and longer nights call out for a need for hope and light, so reading optimistic holiday tales can evoke that feeling of hope in the long, long nights.

The second instalment in Grant Morrison and Dan Mora’s Klaus graphic series, Klaus: The New Adventures of Santa Claus continues Morrison and Mora’s re-exploration of this reimagining of the Santa Claus figure. But where Santa was a jolly old man with a round little belly that shook when he laughed like a bowl full of jelly, Morrison and Mora’s Santa Claus is a muscular middle aged man who seems to spend more time at the gym than he does eating milk and cookies. Klaus is a warrior figure, set against the tides of darkness that spring up around Yule, whose role is to fight evil… but also inspire hope and caring in children.

Klaus is fully steeped in Norse mythology, formed at the combination of the Joy rune, the Gift rune, and the Fire rune. He is a newly imagined figure who is steeped in the pagan origins of Yule and connected to other traditions like the Yule Lads of Iceland, the Yule Goat of Scandinavia, Ded Moroz of Russia, and the Frost Giants of Norse myth. Instead of reindeer, this Santa Claus is accompanied by wolves. Yet, Mora and Morrison don’t just play with the idea of a magical Santa. He is also steeped in technology, riding a sleigh that looks like it is part space ship and occasionally fighting aliens.

Klaus: the New Adventures of Santa Claus occurs in two narratives – “Klaus and the Witch of Winter” and “Klaus and the Crisis in Xmasville”. Klaus’ encounter with the Witch of Winter involves a battle against forces of cold with hints of The Snow Queen (especially through the notion of children developing a frozen heart), but the tale also connects Klaus to other tales, making this Santa Claus the teacher of Geppetto (from the tale of Pinocchio). This tale brings up concerns about global warming, ideas of family, and the psychological trauma that children undergo.

“Klaus and the Crisis in Xmasville” is similarly charged with magic and political commentary. In this story, Morrison and Mora explore the influence of Coca Cola in shaping the image of modern Santa Claus and his capitalist trappings. Using the name “Pola Cola”, Morrison and Mora point out things like the exploitation of workers and the power of economy to turn people into zombie-like figures, but they also combine this with Klaus’ battle against a werewolf-like figure and aliens from another planet who are trying to suck all of the creativity out of human beings because they don’t have any of their own.

Morrison and Mora have created a new mythology with Klaus, modifying the traditional image of Santa Claus and combining him with another creation of popular culture – the superhero.

To find out more about Grant Morrison, go to https://www.grantmorrison.com

To discover more about Klaus, go to https://shop.boom-studios.com/series/detail/458/klaus

K is for Klaus

K is for Klaus

A review of Grant Morrison and Dan Mora’s Klaus (Boom Studios, 2016).

By Derek Newman-Stille

klaus

This isn’t your regular right jolly old elf. Instead, this Santa Claus is a warrior, hunter, and rebel. Playing with the story of Santa Claus from the 1970 stop motion animated film Santa Claus is Comin’ to Town, Grant Morrison and Dan Mora’s Klaus is a warrior who shows up in the village of Grimsvig, where children have been forbidden to have toys. Even rocks used as playthings are taken away with severe punishment threatened. Grimsvig is a town where all joy has been removed. It is a nightmare of labour without reward where only the wealthy are allowed the pleasure of escape and imagination. Klaus returns to Grimsvig and is disgusted with what the town has become, and after being expelled from the town, encounters otherworldly beings who inspire him to create toys that he then brings back to the community.

 

In this comic, Morrison and Mora play with images of rebellion, having Klaus modify posters of the royalty around the town of Grimsvig with stylistic similarities to V for Vendetta, yet the poster of the baron has the rune for joy written on his chin instead of a beard. Klaus combines joy with rebellion, playing with the idea that joy can be a rebellious act. Klaus attacks guards and disrupts the monotony of the town.

 

Klaus takes on the role of Julernisse, the Yuletime Spirit, operating between myth and reality. Even within the comic, he is discussed as myth, disbelieved because of his stealth and ability to resist the perceived natural control of the baron. Klaus is described by various people as a man-wolf, a ghost, and a spirit, taking on the status of legend while alive.

 

Morrison and Mora create a story where play is an act of rebellion, a means of resistance and a way to assert change. They illustrate that play is not just a means to escape, but to creatively inspire transformation. Capitalism and joy clash in a world where anything that doesn’t generate profit is seen as suspect.

 

Klaus comes into conflict with the destructive, greedy impulse of humanity and battles for a better humanity that he imagines is possible. Drawing on Norse mythology, popular narratives about Santa Claus, and the rich folkloric imagery about Father Christmas, Morrison and Mora create a new fairy tale about Santa Claus to expand new possibilities for imagination and wonder.

 

To discover more about the work of Grant Morrison, visit http://www.grant-morrison.com/

To find out more about Klaus, visit Boom Studios at https://shop.boom-studios.com/series/detail/458/klaus