{"id":279550,"date":"2020-12-23T04:24:50","date_gmt":"2020-12-23T09:24:50","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=279550"},"modified":"2020-12-23T04:24:50","modified_gmt":"2020-12-23T09:24:50","slug":"how-holiday-cards-help-us-cope-with-a-not-so-merry-year-according-to-a-professor-of-comedy","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2020\/12\/23\/how-holiday-cards-help-us-cope-with-a-not-so-merry-year-according-to-a-professor-of-comedy\/","title":{"rendered":"How holiday cards help us cope with a not-so-merry year, according to a professor of comedy"},"content":{"rendered":"
\"\"<\/a>
Lately, I\u2019ve been curious to see how recent holiday cards have dealt with the tensions of the year \u2013 and how greeting cards during other eras of struggle handled the holidays. (File photo: Annie Spratt\/Unsplash)<\/figcaption><\/figure>\n

The first Christmas card was, perhaps predictably, one of good cheer. The concept is commonly credited to Sir Henry Cole,<\/a> the founder of the Victoria and Albert Museum in London.<\/p>\n

To spare himself the stress of responding to the all-too-many Christmas letters he received from friends, Cole commissioned an artist to create 1,000 engraved holiday cards in 1843. Featuring a prosperous family toasting the holidays, the image was flanked on both sides by images of kindly souls engaging in acts of charity. A caption along the bottom read, \u201cA Merry Christmas and a Happy New Year to You.\u201d<\/p>\n

But given the end to a bruising year of a worldwide pandemic, enormous economic suffering and a venomous election season, a classic and macabre Charles Addams cartoon might feel more appropriate in 2020. The Addams family gazes outside a bay window to see snow falling while their neighbors decorate, deliver gifts, and build snowmen. Gomez Addams lachrymosely sighs<\/a>, \u201cSuddenly I have a dreadful urge to be merry.\u201d<\/p>\n

The comic captures the repressive side of the phrase \u201cHave a Merry Christmas\u201d: the push to be hopeful during the holidays, even when it does not feel right.<\/p>\n

I am a theater historian who focuses on the history of comedy<\/a>. Particularly, I\u2019m interested in comedy as a mode of communication and how it uniquely conveys information.<\/p>\n

Lately, I\u2019ve been curious to see how recent holiday cards have dealt with the tensions of the year \u2013 and how greeting cards during other eras of struggle handled the holidays. From a cursory review, it\u2019s clear other difficult times have revealed a similar instinct to acknowledge the incongruence of strife mixed with the season of joy.<\/p>\n

Macabre with the merry<\/h2>\n

In the book \u201cAmerican Holiday Postcards, 1905-1915: Imagery and Context<\/a>,\u201d author Daniel Gifford writes, \u201cBecause holidays are socially constructed, a certain quorum of rituals, meanings, symbols, etc. is shared among the participants in order to give the holiday shape and for participants to understand their significance.\u201d<\/p>\n

Over time, these rituals have often taken the form of tokens of merriment such as beatific cherubs or velvet-clad jolly Saint Nicks. They are often ensnared by floral patterns, holly bushes, firs, pines and wreaths. They evince saccharine families, dressed alike, clinging to each other with an almost enviable, and sometimes believable, warmth.<\/p>\n

The cards are usually rife with sentimentality, and the imagery tends toward the clich\u00e9. The combination of these two \u2013 the sentimental and the clich\u00e9 \u2013 offers up the perfect opportunity to make jokes. A tendency in many comic holiday cards is to bring up the circumstances of the day and how the state of affairs disrupt the usual joviality of the season.<\/p>\n

The side effect is that these joke cards preserve history in a playful way. Although the chief objective<\/a> of any joke or gag is to entertain, because they are meant to evoke an emotional response \u2013 a laugh, a smile or even a groan \u2013 they also capture what the joke teller and his or her audience may feel about the holidays.<\/p>\n

The timely Christmas card, then, infuses the typical \u2013 holiday imagery \u2013 with the topical \u2013 what\u2019s going on at that specific moment in time. The Great Depression is a prime example.<\/p>\n

This homemade card by a financially struggling family tugs on the heartstrings in a different way than holiday cards usually do, but still captures the droll irony of the moment.<\/p>\n

The cartoonist Herbert Block was unafraid of addressing political injustice in his yearly holiday drawings. In this 1938 cartoon located in the Library of Congress, he questions whether the Dies Committee \u2013 also known as the The House Committee on Un-American Activities \u2013 would find Santa Claus to be un-American.<\/p>\n

A funny end to a lousy year<\/h2>\n

Today, in the spirit of Jon Stewart, the comedian and political commentator, we\u2019ve all become ironists, wielding a cutting perspective on Twitter, Facebook and Instagram alike. These mediums spur creativity and competition with the elusive promise of making viral \u2013 a term we perhaps should reconsider! \u2013 the most clever or irreverent gag.<\/p>\n

This certainly occurred before the pandemic, but the events of the last year have allowed Americans to mock the usual holiday imagery by acknowledging that this Christmas is not merry, at least not in the usual way.<\/p>\n

\n
\n

The best 2020 holiday card, courtesy of my brother and sister in law pic.twitter.com\/4S72fZjnSJ<\/a><\/p>\n

\u2014 susan rinkunas 🙋🏼‍♀️ (@sueonthetown) December 9, 2020<\/a><\/p><\/blockquote>\n<\/div>\n

One of my favorites is a 2020 card that adds a sardonic twist to the cozy familiarity of Charles Schultz\u2019s Peanuts.<\/p>\n

There are other great ones out there where the clever meet the current mood. Take one that addresses the nation\u2019s run on toilet paper from Dottie & Caro<\/a>.<\/p>\n

And see this one from Saucy Avocado<\/a> that plays on the night before Christmas magic.<\/p>\n

So, although many families all over the world are certainly experiencing a period of great strife and loneliness, that doesn\u2019t mean the holiday greetings have to skirt the sad. Rather, a touch of irreverence enables these cards to mark the anxieties and worries of the now with the spirit of a different, and still meaningful, sort of merriment.<\/p>\n

[Deep knowledge, daily.<\/em> Sign up for The Conversation\u2019s newsletter<\/a>.]\"The<\/p>\n

Matthew McMahan<\/a>, Assistant Director, Comedic Arts, Emerson College<\/a><\/em><\/p>\n

This article is republished from The Conversation<\/a> under a Creative Commons license. Read the original article<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

The first Christmas card was, perhaps predictably, one of good cheer. The concept is commonly credited to Sir Henry Cole, …<\/p>\n","protected":false},"author":44,"featured_media":279551,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-279550","post","type-post","status-publish","format-standard","has-post-thumbnail","category-lifestyle","mauthors-matthew-mcmahan-emerson-college","mauthors-the-conversation"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/279550","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=279550"}],"version-history":[{"count":1,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/279550\/revisions"}],"predecessor-version":[{"id":279552,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/279550\/revisions\/279552"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/279551"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=279550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=279550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=279550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}