In the Celtic fringes of Europe, the idea of “thin places” persists — locations where the boundary between this reality and others is claimed to be at its most fragile, even permeable. Originally, these were seen as portals to the Otherworld of Ancient Gaelic belief and the realm of faerie folk, or Sidhe, and other mythological entities. Recognising their appeal and resilience, the church absorbed these stories and superstitions into the faith; the mountains, lakes and islands that had served as pagan thin places gradually became sites of pilgrimage, areas where the distance between this world and the Christian afterlife might be at its most tenuous. Just as there are thin places, thin times might also be posited — the period, for example, at the end of October and beginning of November when Halloween, All Saints’ Day and All Souls’ Day fall in succession and, it is claimed, spirits walk the earth.
Even in our supposedly rationalist secular era, we find one of these thin places or times in the unlikely guise of Christmas and its rich repository of ghost stories. The supernatural was not banished by the developments of modernity but rather it evolved and adapted, moving from enchanted woods to gothic houses to the streets and rooms of Victorian cities. Just as in earlier times, they found their place where it is dark, in the dead of winter, when the nights close in and fireside stories cause the mind to play tricks and shadows to seemingly change their forms.
Among the many writers who have tried their hand at yuletide ghost stories, none loom larger than Charles Dickens who, with A Christmas Carol (subtitled Being a Ghost Story of Christmas), fundamentally influenced the way we perceive and celebrate the festivity. To fully understand how and why Christmas became a thin place and remains so, we have to delve into a scourge at the very heart of Dickens’s story and our society still — loneliness.
Christmas is one of those times when, as a much earlier writer, Dante, put it: “There is no greater sorrow than to recall in misery the time when we were happy.” And what time is happier, or more melancholic when irretrievable, than a childhood Christmas? Victorian writers knew that when we are alone at Christmas, a time that seems intrinsically meant for loved ones congregating (the perpetual renewal of the Nativity scene), our ghosts, borne by memory, absence and regret, would instead arrive.
Dickens knew the power of myth, and how the beautiful lie might reveal the hidden truth. Determined to speak out about the horrors of child labour and poverty he had directly experienced and witnessed, Dickens first toyed with writing a strident but fairly unwieldly political jeremiad until he realised, correctly, that there was a much more seductive approach available, through the Trojan Horse of storytelling. It was all too easy to turn away from a lecture or respond with platitudes and fallacies, but a heart-stirring tale had the ability to get under one’s skin. His characters and settings were constructed not just from satirical observations of the powerful but from encounters Dickens had had with the powerless, during his lengthy night walks around London. He was also deeply inspired, and haunted, by macabre tales that his cockney nursemaid Mary Weller used to delight in telling him as a child — full of Faustian pacts, treacherous innkeepers, poisons “distilled from toads’ eyes and spiders’ knees”, the Black Cat and Captain Murderer. To add to the unease, Weller would claim the horrors were true and she had witnessed them herself or had heard them from relatives who were eyewitnesses. As Dickens later recounted, in The Uncommercial Traveller, she “took a fiendish enjoyment of my terrors, and used to begin, I remember — as a sort of introductory overture — by clawing the air with both hands, and uttering a long low hollow groan”.
A Christmas Carol has this oral tradition feel, albeit delivered in a short, and affordable, novella form. It also rebalances Dickens’s heavy lean towards sentimentality (the pitiable figure of Tiny Tim, for instance) with the resolutely unsentimental tactic of terrifying child readers. This was necessary for reasons of veracity — existence was unsentimental in those days — but also as a myth-making technique. There are few lessons that stay with us longer and deeper than those which strike mortal fear in us and then propose a way out.
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