Classic and Contemporary Poetry: Explained

In "Santa Claus," Howard Nemerov offers a scathing critique of the commercialization of Christmas and the figure of Santa Claus as a symbol of materialism and consumer culture. Through vivid imagery and biting irony, Nemerov contrasts the figure of Santa Claus with the true meaning of Christmas, highlighting the disconnect between the spiritual significance of the holiday and its commercial exploitation.

The poem begins by introducing Santa Claus as "this overstuffed confidence man," immediately framing him as a deceptive and insidious character. The phrase "Affection's inverted thief" suggests that Santa Claus, rather than embodying genuine love and generosity, manipulates affection for material gain. By "climb[ing] at night / Down chimneys, into dreams, with this world's goods," Santa becomes a figure who invades the sanctity of homes and dreams, bringing not true gifts but the empty promises of consumer goods.

Nemerov critiques Santa's role in fostering materialism: "Bringing all the benevolence of money, / He teaches the innocent to want, thus keeps / Our fat world rolling." Here, Santa Claus is depicted as a perpetuator of desire and greed, instilling a relentless consumerist mentality in children. This role ensures the continuation of a "fat world," bloated with excess and driven by consumption.

Santa's prescribed costume—"White flannel beard, red belly of cotton waste"—symbolizes the artificial and superficial nature of his image. The costume "conceals the thinness of essential hunger," pointing to a deeper, insatiable emptiness masked by the appearance of abundance. This "appetite that feeds on satisfaction" suggests a cycle of endless consumption that never truly fulfills, highlighting the void at the heart of consumer culture.

Nemerov continues by addressing the corrupted nature of Santa's name and legacy: "His name itself / Is corrupted, and even Saint Nicholas, in his turn, / Gives off a faint and reminiscent stench, / The merest soupçon, of brimstone and the pit." This imagery links Santa Claus to darker, more sinister origins, suggesting a loss of purity and a connection to greed and avarice.

The poem starkly contrasts Santa Claus with the true essence of Christmas, where "the Child is born / To suffer for the world, suffer the world." This reference to the birth of Jesus Christ and his sacrificial role starkly contrasts with Santa's role as a purveyor of material goods. Santa is described as "His bloated Other, jovial satellite / And sycophant," implying that he is a grotesque and superficial counterpart to the true meaning of Christmas.

Nemerov emphasizes the commercialization of Santa Claus through the imagery of "a glitter of goodies, in a rock candy glare." Santa, portrayed as a figure who sustains the economy, is "Played at the better stores by bums, for money." This depiction reduces Santa to a mere tool of economic gain, stripping away any genuine benevolence or magic.

The poem's closing lines, "Speaks in the parables of the dollar sign: / Suffer the little children to come to Him," cynically twist the biblical phrase to highlight how children are indoctrinated into consumerism from a young age. The final image of Santa at Easter, "anonymous again, / Just one of the crowd lunching on Calvary," underscores the transient and hollow nature of his significance. It juxtaposes the enduring sacrifice of Christ with the fleeting and shallow impact of Santa's consumer-driven presence.

"Santa Claus" by Howard Nemerov is a powerful critique of the commercialization of Christmas and the figure of Santa Claus as a symbol of materialism. Through sharp imagery and pointed commentary, Nemerov exposes the emptiness of consumer culture and contrasts it with the true spiritual essence of the holiday. The poem invites readers to reflect on the ways in which the commercialization of Christmas distorts and diminishes its deeper meaning.

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