The depiction of the ‘nativity’ in this episode might be described as, ‘the anti-nativity.’ It is a fair description, in the context of an anti-utopian story. The so-called ‘cabaret’ is presented more as a warped tragi-comedy because it combines the birth, death and resurrection of the ‘Regis’ child (based on elements of the New Testament gospels).

The scene has a most unusual depiction of the nativity. The scene may be observed as being, irreverent or silly amongst other things. The baby in the manger has been re-named ‘Regis’ the son of the Holy Regina. This is part of the artistic style of the novella. It seeks to blur and suspend normal reality, inviting the reader to look at the well-recognised nativity scene in a different light. We are being baited of course—to ask what kind of society would twist gospel and liturgy into this strange presentation to charity-ball guests?

Karmalade is experimenting with the artistic idea that the nativity is capable of being morphed. From something that is a cross between a piece of medieval theatre to something which some of the audience in the scene, might believe to be true, because reality has been temporarily suspended by the ‘theatre’ being presented.

As artist, the writer is toying with the power of suggestion. Any rational person would know how ridiculous it is to have O’Malley play the ‘Regis’ figure. Our humour is also being challenged, as the artist-writer becomes a ‘jester’ here to test our reactions.

Karmalade uses the audience watching the play, to develop the reader’s knowledge about the guests at the ball. Lamb’s flamboyance is on display. One feels there is something not quite right about the whole social scene that participates in these ‘charitable’ festivities.

Like Fitzgerald in The Great Gatsby (1924-25), Karmalade is entreating us to reflect on the rash forms of behaviour that pass for entertainment. There is a duality here. On one hand the professional construction of a modern fund-raising event. And on the other—a fakery that is palpable, if we explore just below the surface: the games, the costumes; those who pocket the charitable funds are complicit in abusing the charity itself. The entertainment is a form of tainted collective gratification that occurs in an intoxicating atmosphere. Karmalade paints a vulgarity that is very directly inspired by Brugal (b1525-1569) and Bosch (1450-1505), except it is penned into 2025 instead.