Loretta met Anna and Sam the day she saved Sam’s life.
Anna and Sam were old. She was 80 and he was 89. Loretta would see Anna from time to time when she went to swim at her neighbor Elaine’s pool. One day she stopped by as the two women were convincing the old guy to take a swim. He finally got in, was dog-paddling along with a big grin on his face when he had a seizure. The other two women were in the shallow end and didn’t notice. Loretta jumped in, shoes and all, pulled him to the steps and up out of the pool. He didn’t need resuscitation but he was disoriented and frightened. He had some medicine to take, for epilepsy, and they helped him dry off and dress. They all sat around for a while until they were sure he was fine and could walk to their house, just down the block. Anna and Sam kept thanking Loretta for saving his life, and insisted that she go to lunch at their house the next day.
It happened that she wasn’t working for the next few days. She had taken three days off without pay because she had a lot of things that needed doing. Lunch with them would mean going all the way back to Berkeley from the city, and not finishing everything in one day, as she had planned.
It was Christmas night and the proper things had been done. The whole village had come to dinner in hall. There had been boar’s head and venison and pork and beef and mutton and caponsbut no turkey, because this bird had not yet been invented. There had been plum pudding and snap-dragon, with blue fire on the tips of one’s fingers, and as much mead as anybody could drink. Sir Ector’s health had been drunk with “Best respects, Measter,” or “Best compliments of the Season, my lords and ladies, and many of them.” There had been mummers to play an exciting dramatic presentation of a story in which St. George and a Saracen and a funny Doctor did surprising things, also carol-singers who rendered “Adeste Fideles” and “I Sing of a Maiden,” in high, clear, tenor voices. After that, those children who had not been sick from their dinner played Hoodman Blind and other appropriate games, while the young men and maidens danced morris dances in the middle, the tables having been cleared away. The old folks sat round the walls holding glasses of mead in their hands and feeling thankful that they were past such capers, hoppings and skippings, while those children who had not been sick sat with them, and soon went to sleep, the small heads leaning against their shoulders. At the high table Sir Ector sat with his knightly guests, who had come for the morrow’s hunting, smiling and nodding and drinking burgundy or sherries sack or malmsey wine.
After a bit, silence was prayed for Sir Grummore. He stood up and sang his old school song, amid great applausebut forgot most of it and had to make a humming noise in his moustache. Then King Pellinore was nudged to his feet and sang bashfully:
“Oh, I was born a Pellinore in famous Lincolnshire. Full well I chased the Questing Beast for more than seventeen year. Till I took up with Sir Grummore here In the season of the year. (Since when) ’tis my delight On a feather-bed night To sleep at home, my dear.
“You see,” explained King Pellinore blushing, as he sat down with everybody whacking him on the back, “old Grummore invited me home, what, after we had been having a pleasant joust together, and since then I’ve been letting my beastly Beast go and hang itself on the wall, what?”
“Well done,” they told him. “You live your own life while you’ve got it.”
William Twyti was called for, who had arrived on the previous evening, and the famous huntsman stood up with a perfectly straight face, and his crooked eye fixed upon Sir Ector, to sing:
“D’ye ken William Twyti
With his Jerkin so dagged? D’ye ken William Twyti
Who never yet lagged? Yes, I ken William Twyti,
And he ought to be gagged With his hounds and his horn in the morning.”
“Bravo!” cried Sir Ector. “Did you hear that, eh? Said he ought to be gagged, my dear feller. Blest if I didn’t think he was going to boast when he began. Splendid chaps, these huntsmen, eh? Pass Master Twyti the malmsey, with my compliments.”
The boys lay curled up under the benches near the fire, Wart with Cavall in his arms. Cavall did not like the heat and the shouting and the smell of mead, and wanted to go away, but Wart held him tightly because he needed something to hug, and Cavall had to stay with him perforce, panting over a long pink tongue.
“Now Ralph Passelewe.”
“Good wold Ralph.”
“Who killed the cow, Ralph?”
“Pray silence for Master Passelewe that couldn’t help it.”
At this the most lovely old man got up at the furthest and humblest end of the hail, as he had got up on all similar occasions for the past half-century. He was no less than eighty-five years of age, almost blind, almost deaf, but still able and willing and happy to quaver out the same song which he had sung for the pleasure of the Forest Sauvage since before Sir Ector was bound up in a kind of tight linen puttee in his cradle. They could not hear him at the high tablehe was too far away in Time to be able to reach across the roombut everybody knew what the cracked voice was singing and everybody loved it. This is what he sang:
“Whe-an/Wold King-Cole/was a /wakkin doon-t’street, H-e /saw a-lovely laid-y a /steppin-in-a-puddle. / She-a /lifted hup-er-skeat/ For to / Hop acrorst ter middle, / An ee /saw her /an-kel. Wasn’t that a fuddle? / Ee could’ernt elp it, /ee Ad to.”
There were about twenty verses of this song, in which Wold King Cole helplessly saw more and more things that he ought not to have seen, and everybody cheered at the end of each verse until, at the conclusion, old Ralph was overwhelmed with congratulations and sat down smiling dimly to a replenished mug of mead.
It was now Sir Ector’s turn to wind up the proceedings. He stood up importantly and delivered the following speech:
“Friends, tenants and otherwise. Unaccustomed as I am to public speakin’”
There was a faint cheer at this, for everybody recognized the speech which Sir Ector had made for the last twenty years, and welcomed it like a brother.
“Unaccustomed as I am to public speakin'” it is my pleasant dutyI might say my very pleasant dutyto welcome all and sundry to this our homely feast. It has been a good year, and I say it without fear of contradiction, in pasture and plow. We all know how Crumbocke of Forest Sauvage won the first prize at Cardoyle Cattle Show for the second time, and one more year will win the cup outright. More power to the Forest Sauvage. As we sit down tonight, I notice some faces now gone from among us and some which have added to the family circle. Such matters are in the hands of an almighty Providence, to which we all feel thankful. We ourselves have been first created and then spared to enjoy the rejoicin’s of this pleasant evening. I think we are all grateful for the blessin’s which have been showered upon us. Tonight we welcome in our midst the famous King Pellinore, whose labours in riddin’ our forest of the redoubtable Questin’ Beast are known to all. God bless King Pellinore. (Hear, hear!) Also Sir Grummore Grummursum, a sportsman, though I say it to his face, who will stick to his mount as long as his Quest will stand up in front of him. (Hooray!) Finally, last but not least, we are honoured by a visit from His Majesty’s most famous huntsman, Master William Twyti, who will, I feel sure, show us such sport tomorrow that we will rub our eyes and wish that a royal pack of hounds could always be huntin’ in the Forest which we all love so well. (Viewhalloo and several recheats blown in imitation.) Thank you, my dear friends, for your spontaneous welcome to these gentlemen. They will, I know, accept it in the true and warmhearted spirit in which it is offered. And now it is time that I should bring my brief remarks to a close. Another year has almost sped and it is time that we should be lookin’ forward to the challengin’ future. What about the Cattle Show next year? Friends, I can only wish you a very Merry Christmas, and, after Father Sidebottom has said our Grace for us, we shall conclude with a singin’ of the National Anthem.”
The cheers which broke out at the end of Sir Ector’s speech were only just prevented, by several hush-es, from drowning the last part of the vicar’s Grace in Latin, and then everybody stood up loyally in the firelight and sang:
“God save King Pendragon,
May his reign long drag on,
God save the King.
Send him most gorious,
Great and uproarious,
Horrible and Hoarious,
God save our King.”
The last notes died away, the hall emptied of its rejoicing humanity. Lanterns flickered outside, in the village street, as everybody went home in bands for fear of the moonlit wolves, and The Castle of the Forest Sauvage slept peacefully and lightless, in the strange silence of the holy snow.
—From T.H. White’s The Once and Future King.
Zora Neale Hurston’s hand-drawn Christmas card (1926). From Fannie Hurst’s papers at the Harry Ransom center in Austin, TX. Via the Ransom Center’s Instagram account.
Happy Christmas. These are scans of some Christmas cards that my family bought and never sent. This was in ’87 or ’88, in Papua New Guinea, which is where the cards were designed and printed. Maybe I’ll blog about living there sometime. Or not. Happy Christmas.
Some content on this page was disabled on May 26, 2021 as a result of a DMCA takedown notice from Gary Larson. You can learn more about the DMCA here:
Cormac McCarthy’s seminal anti-Western Blood Meridian isn’t exactly known for visions of peace on earth and good will to man. Still, there’s a strange scene in the book’s final third that subtly recalls (and somehow inverts) the Christmas story. The scene takes place at the end of Chapter 15. The Kid, erstwhile protagonist of Blood Meridian, has just reunited with the rampaging Glanton gang after getting lost in the desert and, in a vision-quest of sorts, has witnessed “a lone tree burning on the desert” (a scene I argued earlier this year was the novel’s moral core).
Glanton’s marauders, tired and hungry, find temporary refuge from the winter cold in the town of Santa Cruz where they are fed by Mexicans and then permitted to stay the night in a barn. McCarthy offers a date at the beginning of the chapter — December 5th — and it’s reasonable to assume, based on the narrative action, that the night the gang spends in the manger is probably Christmas Eve. Here is the scene, which picks up as the gang — “they” — are led into the manger by a boy–
The shed held a mare with a suckling colt and the boy would would have put her out but they called to him to leave her. They carried straw from a stall and pitched it down and he held the lamp for them while they spread their bedding. The barn smelled of clay and straw and manure and in the soiled yellow light of the lamp their breath rolled smoking through the cold. When they had arranged their blankets the boy lowered the lamp and stepped into the yard and pulled the door shut behind, leaving them in profound and absolute darkness.
No one moved. In that cold stable the shutting of the door may have evoked in some hearts other hostels and not of their choosing. The mare sniffed uneasily and the young colt stepped about. Then one by one they began to divest themselves of their outer clothes, the hide slickers and raw wool serapes and vests, and one by one they propagated about themselves a great crackling of sparks and each man was seen to wear a shroud of palest fire. Their arms aloft pulling at their clothes were luminous and each obscure soul was enveloped in audible shapes of light as if it had always been so. The mare at the far end of the stable snorted and shied at this luminosity in beings so endarkened and the little horse turned and hid his face in the web of his dam’s flank.
The “shroud of palest fire” made of sparks is a strange image that seems almost supernatural upon first reading. The phenomena that McCarthy is describing is simply visible static electricity, which is not uncommon in a cold, dry atmosphere–particularly if one is removing wool clothing. Still, the imagery invests the men with a kind of profound, bizarre significance that is not easily explainable. It is almost as if these savage men, naked in the dark, are forced to wear something of their soul on the outside. Tellingly, this spectacle upsets both the mare and her colt, substitutions for Mary and Christ child, which makes sense. After all, these brutes are not wise men.
Thanks to Shannon Tharp for hipping me to this clip today and to hipping me to Mary Margaret O’Hara a few years ago.
Federico De Roberto 1894 novel The Viceroys is back in print again via the good people at Verso. This edition is translated by Archibald Colquhoun, with a foreword by Franco Moretti. Verso’s blurb:
A lost literary classic, written in 1894, The Viceroys is one of the most acclaimed masterworks of Italian realism.The novel follows three generations of the aristocratic Uzeda family as it struggles to hold on to power in the face of the cataclysmic changes rocking Sicily. As Garibaldi’s triumphs move Italy toward unification, the Uzedas try every means to retain their position. De Roberto’s satirical and mordant pen depicts a cast of upper-class schemers, headed by the old matriarch, Donna Teresa, and exemplified by her arrogant and totally unscrupulous son, Consalvo, who rises to political eminence through lip service, double-dealing, and hypocrisy. The Viceroys is a vast dramatic panorama: a new world fighting to shrug off the viciousness and iniquities of the old.
“A unique combination of naturalistic lucidity over the fate of impoverished aristocracies, and a Goya-like inventiveness in extracting from social disintegration a whole gallery of grotesques and monstrosities … a superb lesson in how coarse and rancid the collapse of a ruling class actually is.
Biblioklept 