Black Gate

Christmas was the most fun when I was a little kid, and when I had a little kid. Since neither applies these days, the lights don’t burn as brightly anymore. I’m not entirely a bah-humbugger, it’s just that, well, the magical feeling the holiday used to instill just isn’t there anymore. As a non-believer, the magic I’m referring to is rooted in that of the imagination of fairy tales and Old St. Nick, not the sacred version; although I recently attended a Messiah sing along and have been to the occasional Christmas service, I participate as an anthropological, not a religious, observer.

Now, maybe I’m just not paying attention, but I don’t seem to hear the outcry of putting “Christ” back into Christmas that was prevalent a few years ago. Possibly it has something to do with the economic crash that has lessened the crass commercialism the holiday is famous for (or, again, maybe I’m not paying much attention). In any event, I always thought the whole outrage about saying “Happy Holidays” instead of “Merry Christmas” was silly, as the holiday’s origins arguably have less to do with the birth of Jesus than paganism and general debauchery. All of this is nicely summarized in A Narnia Christmas by Laura Miller, a staff writer at Salon, author of The Magician’s Book: A Skeptic’s Adventures in Narnia.
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A common refrain about the publishing industry – heard clearest of all in those places where writers gather online – is that editors and agents are more interested in making a fast buck than in finding a solid author, that they’d rather have cookie-cutter fiction instead of something that breaks new ground, that they just don’t get it.  While I naturally cannot speak for every writer, my own experiences have led me to believe that the opposite is true.

To be sure, publishing changed when the conglomerates took over.  What was once a gentleman’s enterprise became instead a ruthless business, one replete with attorneys and accountants for whom books are merely a curiosity, a commodity.  There is an apocryphal tale from the late 80’s about a financial analyst who crunched the numbers and came to the conclusion that, since only a small fraction of books were destined for bestsellerdom, the editor-in-chief would do well to focus the company’s resources just on those few books.  Wearily, the editor explained that no one could predict which books might outperform the others until after they were released.  It’s frightening to think that the people who are ultimately in charge of our creative destines might not have the first clue what they’re doing.

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The title of the Bruce Holland Rogers lead story in the latest Black Static of course makes you think it’s about Christmas. The “reason for the season” has become a rallying cry for those who want to emphasize the “Christ” part of the holiday (notwithstanding that the contemporary celebration has more to do with that literary fantasist Charles Dickens and his three ghosts, not to mention origins in German pagan worship rather than the birth of the historical Jesus, which scholarship tends to put at around April), and seeing how this issue shows up at this time of year, well, I was looking forward to some kind of horrific holiday story. Maybe a Wal-Mart employee getting crushed by holiday shoppers, or something. (Oh, sorry, real life got there first.)

It is a horrific holiday story, only it’s tangentially about Christmas. Actually, it’s about Halloween. Even more actually, it’s about real life. And real death. The beauty of the story is how it sets you up to expect certain things, beginning with the title, but leads you somewhere entirely different. And even more disturbing than initial expectations.
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