Classic and Contemporary Poetry: Explained

In "Christmas," Charles Olson offers a critical and unconventional view of the holiday, taking aim at its perceived materialism and questioning its religious symbolism. Olson references early Christian theologians Origen and Clement, who, in the poem, appear to share Olson’s skepticism toward the way Christmas is celebrated. Olson suggests that Christmas has become a spectacle, focusing on outward symbols and superficial gestures rather than a deeper spiritual significance. By calling it "dirty Christmas," Olson immediately signals his disapproval, positioning the holiday as something that has been sullied or corrupted, a ritual that fails to convey the true nature of spirituality.

Origen and Clement’s presence in the poem is significant because both figures, in historical theology, engaged with ideas that challenged mainstream Christian practices. Origen, for instance, was known for his controversial beliefs about the nature of the soul and resurrection, while Clement sought to reconcile Christianity with Greek philosophy, often emphasizing a more intellectual spirituality. Olson’s invocation of these two figures lends a critical and intellectual angle to his critique, suggesting that even early thinkers questioned the ceremonial aspects of Christian practice that have since been amplified in modern times.

The phrase "some child baptism to go gew-gaw over" expresses Olson’s discontent with the ways in which Christmas emphasizes innocence and childhood in ways he finds superficial. He contrasts this portrayal of Christ as an "embroidered" boy in finery with an image of "a man standing in desire in the Jordan." This contrast shifts the focus from a sanitized, decorative image of the infant Jesus to a powerful adult figure seeking baptism in the river, where "a naked man" meets "another adult man." Here, Olson emphasizes the rawness and directness of baptism as an adult choice, aligning it with personal agency and spiritual maturity rather than innocence or mere ceremonial tradition.

Olson’s choice to describe Jesus and John the Baptist as "adult men" who participate in this act together emphasizes his vision of spiritual authenticity. The river Jordan becomes more than a mere symbol; it is a place of transformation, framed here as "the river, of life." Olson's description suggests that real spirituality is found in acts of profound self-discovery, ones that allow individuals to confront their desires and wisdom, symbolized by Jesus seeking baptism. This adult baptism is raw and honest, devoid of embellishment, contrasting starkly with the decorative spectacle Olson attributes to Christmas celebrations.

Moreover, Olson’s use of the phrase "as harmless as a dove" and "wise as a serpent" recalls Jesus’ instruction in the New Testament (Matthew 10:16), urging his followers to embody both innocence and wisdom. For Olson, this duality represents a mature spirituality that embraces both vulnerability and insight, embodying an acceptance of life’s complexities. Rather than focusing on outward rituals, Olson advocates for a spirituality grounded in personal experience, growth, and understanding. The river is thus not just water; it represents a profound encounter with life’s trials, where one’s wisdom and innocence coexist.

In "Christmas," Olson’s critique extends beyond religious rituals to question society’s penchant for masking true experience with pageantry. Olson sees value in shedding these societal layers to reveal an authentic, transformative spirituality. His disdain for the "favorably embroidered gown" suggests that religious and cultural traditions sometimes distract from the core of the spiritual experience they purport to honor. For Olson, this approach to Christmas is a "junk" tradition—an empty ritual that obscures rather than reveals truth.

Olson’s approach in this poem calls readers to look beyond mere appearances, whether they are religious symbols or cultural practices, in order to find a deeper, personal, and unembellished spirituality. His challenge to both religion and cultural norms is part of a larger call to return to the core of what spirituality means: a process of transformation, growth, and truth that cannot be attained through ornamentation or superficial reverence. "Christmas" becomes, in Olson’s hands, not a holiday to celebrate blindly but an opportunity to reflect on what lies beneath tradition, asking whether it genuinely serves the journey of the soul.

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