I don’t know where I came across ‘A Christmas Meeting’ and I’m not quite sure I ‘get it’. It is quite a wobbly little story that seems to get wobblier each time you try to take hold of it.
Our unnamed narrator – “a spinster with…myopic eyes that once were beautiful” – is spending Christmas alone in her furnished room. She muses on “all the Christmases of the past coming back in a mad jumble” and concludes that “however cynical you are, however irreligious, it makes you feel queer to be alone at Christmas time.” She is not really alone though, for she has “a feeling of companionship with all the other people who are spending Christmas – millions of them – past and present”. She is even less alone – and “absurdly relieved” – when a young man comes to her room in error, and ends up staying for a chat.
I usually share this story with thirteen-year-olds, having spent a few weeks studying Saki, Dahl, and other twisty tale-tellers. When it comes to the last week before the holidays, I reach for ‘A Christmas Meeting’. I read it aloud and let it go, for fear that if I force my pupils to study it proper it will wobble away from them. It isn’t quite the end-of-term treat they want (it’s good, but it’s no Shrek 2!), but ‘A Christmas Meeting’ is usually met with a sort of enthusiastic confusion that I interpret as approval.
First published in Truth, November 1951, widely anthologised, and finally collected in From Another World and Other Ghost Stories, Sundial Press, 2016
Chosen by Matthew Hamblin. Matthew is a teacher and a potter. He works at a comprehensive boys’ school in central London and in his shed. You can read his full Personal Anthology of stories he loves to teach here.
Nobody has ever asked me for advice about how to teach and I don’t think they ever will. But if they do, I’ll say this: If you’ve got a good text to share and some good questions to ask, everything might be fine.
As well as being good and well-written and worthy in their own right I think that these stories are all broadly appropriate for study with 11-18 year olds. In my experience they ‘work’, either as something fun to read aloud, or as something thought-provoking to discuss.
If you are a teacher and you would like PDFs of the stories, do get in touch.
It takes longer to explain what a ‘video’ is and how ‘rewinding’ used to work than it does to actually read this poem.
It’s worth it, though.
In The Hoard, Bloodaxe, 2017. See Adcock read it here
I looked from my window and saw him already working, twisting, arranging wires, screwing, unscrewing, leaning back from the pole, dependent upon his safety belt, trusting in it, seeming in a position of comfort and security.
Not even a whole page! There are lots of things by Janet Frame that I Iike, but I’ve never worked out how to teach any of them. This nicely worked little story perfectly captures the feeling of being young in summer, and is so neat it near enough teaches itself. Nothing happens, everything seems achingly slow, and the last line is a killer.
A nice thing to do is to ask the kids “what happens next” and have them write their own continuations.
Published in The Reservoir, George Brazillier, 1993
‘[Giles and Ginny] created a deer park and commissioned a couple of follies and a croquet lawn with peacocks strutting around it, and employed plenty of staff to do all the cooking and cleaning and to treat [them] with the kids of respect they felt their considerable wealth deserved.’
It’s hard to choose just one story from Mick Jackson’s ‘Ten Sorry Tales’, which was left in my pigeon hole by a much better, kinder teacher a few years ago. The whole collection is worth a look, and it is the book most often stolen from my classroom – high praise indeed.
This story is about a well-heeled couple who decide that the one thing their estate lacks is a hermit. Despite attracting few applicants they eventually fill the position, providing food and shelter with the simple request that their hermit must remain ‘as quiet as the grave’. All goes well until Giles and Ginny find ‘a new distraction’ in the form of ‘an heir to the throne’.
in ‘Ten Sorry Tales’, Faber, 2005
What the hell happened to your eyes, Frank? Don’t tell me you’ve started wearing tinted contact lenses.
When a friend dragged me to some trendy literary event in East London, Roger Robinson towered above the other contributors. I picked up a copy of ‘Adventures in 3D’ for the princely sum of five pounds, and read ‘Job’ to my Year 11 class the next day. Two black men, friends from University, stay in touch as they enter the world of adulthood. With the pressures of work one of the men, Frank, starts to change.
Some of the most interesting conversations I have had have started as a result of this story. Is the author black? Would it make you feel differently if the author were white? How might different readers understand this story differently? How might white readers interpret this story differently from readers of colour?
From the collection ‘Adventures in 3D’, Lubin & Kleyner, 2002