A Very Gödel Christmas, Batman

"'Cuz for this story to make sense… for it to mean anything… you have to believe in something. Something very important. You have to believe that people can change". Batman: Noël is the pure, staggering genius of superimposing Dickens' A Christmas Carol on the darkest of Dark Knights.

Batman Noël

Publisher: DC
Length: 22 pages
Writer: Lee Bermejo
Price: $22.99
Publication Date: 2011-12

What if it's never enough?

Twentieth century mathematician Kurt Gödel didn't propose one Theorem on Incompleteness, but two. And yet, it's the first that proves the most seductive. In any given system, Gödel observes, statements can be produced that are both true, and unprovable. We can know them to be true, and yet we cannot explain why they are so. Gödel proclaims both the map and the currency of secret and distant things.

And the beauty of the drama that Gödel ushers in, is an escape from the pitiable reliance on the fear encompassed in the "what if" of "what if it's never enough"? "What if it's never enough" is an armada that looms on the horizon once exhaustion hits; it is the secret fear, the terrible mortality, the end. Rather, Gödel inverts this fear completely and proclaims with a resounding cry, it is never enough. It is never enough because we're always building more. Not more stuff, but more possibility. And as Arthur C. Clarke reminds us, possibility will always manifest as actuality.

Of course none of Gödel hits when I'm actually reading Lee Bermejo's Batman: Noël. Higher order intellectualizing is completely off the cards. When Lee writes, "I believe a man can change. But change is such a powerful thing, such a BIG idea, that I gotta believe there's more to it than just makin' a CHOICE", I'm wholly immersed in the emotion of the moment.

There's no going back after this point. I've been lost in Lee's vision of a Dark and Vengeful Batman that desperately needs to be redeemed for over an hour now. I've been on a walking tour of Batman patrolling on Christmas Eve, and Lee's narrator superimposing Dickens' A Christmas Carol of the events he's narrating. There's no going back now, tears well up.

"I believe a man can change. But change is such a powerful thing, such a BIG idea, that I gotta believe there's more to it than just makin' a CHOICE. See outside forces have to come into play… something ELEMENTAL". The beauty of Gödel's "way out" only hits days later, when I'm rereading this fragment for this review. And even then, Gödel is only a distant voice. The pure, staggering magnificence of Lee's story is so utterly captivating that it's hard for my rational mind to kick in fully. And it will be hard for yours too.

All in all, Batman: Noël is a simple story. An almost throwaway night of patrol for the Batman. The Joker's on the loose, Batman attempts to track him down using the Joker's bagman, Bob, as live bait. But that's not the real moment of drama in the story. The real moment of drama is how this Batman's carefully calculated world of angst and fear and violence is meticulously unraveled by three strange visitors. Three "ghosts" who show him the joy of the past, the dark reality of the world he made for himself, and the paucity the world faces if this dark reality is to be his only legacy.

And as with Dickens' own A Christmas Carol, there is a redemption. But not before a shocking confrontation. Perhaps the most evocative moment is the Joker at the door, when it's answered by Bob's son, Tim. It's singularly the most finely crafted moment in comics you'll read this year. No words, just a single picture of the door open one little crack, and the Joker staring back at Tim.

Lee effortlessly recalls the single most frightening moment in the Joker's history. Dressed like a tourist in a brightly colored shirt, bermuda shorts and wearing a Nikon camera around his neck, the Joker greets Barbara Gordon at her door. A near fatal shot to her spine ensures she wind up a paraplegic. The moment played out in Alan Moore and Brian Bolland's Batman: The Killing Joke This was a permanent change in the DC Universe, and arguably the first time that we realized that even though we grow up around these characters, they themselves can grow.

With nothing but a single-page panel, Lee throws us back into dread. Without the benefit of iTunes, Meatloaf's "Objects in the Rearview Mirror" plays in my head. "And though the nightmares should be over, somehow the terrors are still intact". Recalling The Killing Joke is a flawless setup for the confrontation that comes next, the confrontation that will define Batman. No more, "what if it's never enough", and simply the understanding that it never will be enough. That there is no map for this, no better destiny to be grasped at. There's only what we build.

I read Noël in one sitting, cover to cover, in a little under 90 minutes. But that would never be enough. It appeared again at the strangest of times. In an-out-of-town car ride to an annual Carols concerto on a wine estate. In the theater just before Moneyball. One morning before a two-mile run. Lee's Noël is pure kryptonite to leave lying around my workspace. It's where I go when I procrastinate, and it leaves me feeling too good to care about procrastinating.

In the end, I'm simply haunted by the beauty of Batman: Noël. And my wish for you this Holiday Season, is that you will be too.







Greta Gerwig's Adaptation of Loneliness in Louisa May Alcott's 'Little Women'

Greta Gerwig's film adaptation of Louisa May Alcott's classic novel Little Women strays from the dominating theme of existential loneliness.


The Band's Discontented Third LP, 1970's 'Stage Fright', Represented a World Braving Calamity

Released 50 years ago this month, the Band's Stage Fright remains a marker of cultural unrest not yet remedied.


Natalie Schlabs Starts Living the Lifetime Dream With "That Early Love" (premiere + interview)

Unleashing the power of love with a new single and music video premiere, Natalie Schlabs is hoping to spread the word while letting her striking voice be heard ahead of Don't Look Too Close, the full-length album she will release in October.


Rufus Wainwright Makes a Welcome Return to Pop with 'Unfollow the Rules'

Rufus Wainwright has done Judy Garland, Shakespeare, and opera, so now it's time for Rufus to rediscover Rufus on Unfollow the Rules.


Jazz's Denny Zeitlin and Trio Get Adventurous on 'Live at Mezzrow'

West Coast pianist Denny Zeitlin creates a classic and adventurous live set with his long-standing trio featuring Buster Williams and Matt Wilson on Live at Mezzrow.


The Inescapable Violence in Netflix's I'm No Longer Here (Ya no estoy aqui)

Fernando Frías de la Parra's I'm No Longer Here (Ya no estoy aqui) is part of a growing body of Latin American social realist films that show how creativity can serve a means of survival in tough circumstances.


Arlo McKinley's Confessional Country/Folk Is Superb on 'Die Midwestern'

Country/folk singer-songwriter Arlo McKinley's debut Die Midwestern marries painful honesty with solid melodies and strong arrangements.


Viserra Combine Guitar Heroics and Female Vocals on 'Siren Star'

If you ever thought 2000s hard rock needed more guitar leads and solos, Viserra have you covered with Siren Star.


Ryan Hamilton & The Harlequin Ghosts Honor Their Favorite Songs With "Oh No" (premiere)

Ryan Hamilton's "Oh No" features guest vocals from Kay Hanley of Letters to Cleo, and appears on Nowhere to Go But Everywhere out 18 September.


Songwriter Shelly Peiken Revisits "Bitch" for '2.0' Album (premiere)

A monster hit for Meredith Brooks in the late 1990s, "Bitch" gets a new lease on life from its co-creator, Shelly Peiken. "It's a bit moodier than the original but it touts the same universal message," she says.


Leila Sunier Delivers Stunning Preface to New EP via "Sober/Without" (premiere)

With influences ranging from Angel Olsen to Joni Mitchell and Perfume Genius, Leila Sunier demonstrates her compositional prowess on the new single, "Sober/Without".


Speed the Plough Members Team with Mayssa Jallad for "Rush Hour" (premiere)

Caught in a pandemic, Speed the Plough's Baumgartners turned to a faraway musical friend for a collaboration on "Rush Hour" that speaks to the strife and circumstance of our time.


Great Peacock Stares Down Mortality With "High Wind" (premiere + interview)

Southern rock's Great Peacock offer up a tune that vocalist Andrew Nelson says encompasses their upcoming LP's themes. "You are going to die one day. You can't stop the negative things life throws at you from happening. But, you can make the most of it."


The 80 Best Albums of 2015

Travel back five years ago when the release calendar was rife with stellar albums. 2015 offered such an embarrassment of musical riches, that we selected 80 albums as best of the year.


Buridan's Ass and the Problem of Free Will in John Sturges' 'The Great Escape'

Escape in John Sturge's The Great Escape is a tactical mission, a way to remain in the war despite having been taken out of it. Free Will is complicated.


The Redemption of Elton John's 'Blue Moves'

Once reviled as bloated and pretentious, Elton John's 1976 album Blue Moves, is one of his masterpieces, argues author Matthew Restall in the latest installment of the 33 1/3 series.


Whitney Take a Master Class on 'Candid'

Although covers albums are usually signs of trouble, Whitney's Candid is a surprisingly inspired release, with a song selection that's eclectic and often obscure.


King Buzzo Continues His Reign with 'Gift of Sacrifice'

King Buzzo's collaboration with Mr. Bungle/Fantômas bassist Trevor Dunn expands the sound of Buzz Osborne's solo oeuvre on Gift of Sacrifice.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.