A Christmas Carol, the classic tale of the redemption of the misanthropic Ebenezer Scrooge by the Three Ghosts of Christmas, has never been out of print. It has been adapted to film, opera, stage, and is a staple of the culture of Christmas to this very day. You cannot turn on a television without seeing one of its many manifestations, and countless writers of drama have riffed on the three ghosts with their heartwarming -- and heartwarning -- message.
Meanwhile, out of sight, people of the working class struggled in worse circumstances than ever before. Starvation, disease, debtor's prisons, a class divide as wide and as deep as despair itself.
I don't know exactly what I'm trying to communicate myself, with this post. I'm up to my eyeballs in wrapping paper and cookie icing, and I swear, I swear, there is dough in my hair. But I do know this: In the same way that a thematic political statement may contain a compelling narrative, so may a compelling narrative contain a very visible theme. (Try that, vampire mystery writers tying their novel to themes of teenage alienation.) And that once there was a writer out there, perhaps the most heard of his and many generations, who, when considering what 'theme' he could apply to his works, not only did not flinch, but strode boldly ahead to create one of the most powerful messages to humanity ever.
Wasn't that fun? Now -- don't shrink -- go write something big.