December 2019:Yule


The Viking influence upon Ireland cannot be overstated – so much to the fact that Hiberno-Norse nearly becomes a redundant statement. From the iconic red hair to the founding of Ireland’s three largest cities (Dublin, Cork, and Limerick), many things that we think of ironically Irish have heavy Scandinavian origins.
            It is no small thing then that the American Swedish Institute here in Minneapolis chose to feature Ireland in their Christmas display this year. Every year they show a living room and its settings from a particular decade for each of the five Nordic Countries (Sweden, Norway, Denmark, Iceland, and Finland) as well as a rotating European country. This year, it just happens to be Ireland.
            This has been a huge blending of backgrounds for me. The obvious is my Irish and Finish heritage. But also, when Mary and I lived in Chicago, we lived in Andersonville – the old Swedish community on the north side. Christmas for us featured shopping for Christmas gifts at the Swedish Museum, brunch at Svea, treats from the Swedish Bakery, and glogg. To have all of this once again united under on room makes us feel much more at home here in the Twin Cities.
            On the calendar of the ancient Celtic year, there is no midwinter or solstice celebration. Yule is a Norse holiday. And while I wish that I had more Yule material for you in this issue, I just couldn’t find anything this year. That can be part of my 2020 goals.


I am including in this issue the full text of James Joyce’s The Dead. Not a particularly Christmas-y title, but the short-story is astounding. Set at Christmas time, it becomes a reflection on our pasts, our present, and our mortality. It is seeing increased popularity in the theater – becoming a nice alternative to A Christmas Carol. It is well worth the read. And don’t be scared off by the fact that it was written Joyce. This is his last foray into realism before launching into the abstract world of Ulysses and Finnegan’s Wake. Indeed, it wasn’t supposed to be included in Dubliners – it was kind of an artistic moment that had its expression and then was tacked on to the end, launching Joyce into the genius (or madman) that we know him to be.


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