Darwinists are communists. And Nazis. They hate our freedom. And—this might be worst of all—they are New Atheists. Or so suggests the film Expelled, Ben Stein’s comedic documentary about scientists who have lost their jobs for questioning the Darwinian consensus. Stein is an actor best known for his role as the hapless teacher in Ferris Bueller’s Day Off (“Anyone?
The smile on your mouth was the deadest thing Alive enough to have the strength to die. —“Neutral Tones” (Psalm 72))
It won’t last long, this snow that sheathes the dooryard pine in April and lays its feckless cover on the slope behind. Crocuses, just tall enough, poke their small blue noses through. It’s clear that they’re alive enough to live. April’s gale is loud as bombers. What’s left of ice around the pond in town is rough as predators’ teeth. The fisher fells the luckless squirrel.
There’s much I too may try to cover. For all of that I feel a gladness in watching this omni-inclusive white blot out the neutral tones that pushed our brilliant poet to ponder death, and love’s deceit, its cruelty. We’ve been together, my love and I, near three decades, which have scudded by like these sideways flakes. My lover-wife. There can come pangs, but the freshets have started
to wander the brush and make their signs: soon we’ll find the trillium, the painted kind, in that secret place which I discovered springs ago, and which since then I’ve kept a secret from all but her—from even our children; and the valley’s white-faced Herefords, while winter endured, dropped new calves, which now, though mud clots up like blood, shine clean as a man’s most colorful dream.
What is this one’s dream? That life go on as ever. That all our lives go on. No more than dream, of course. I know, the planet heating up, the cretin politicians waving swords, as if, by counter-logic, war might transform earth into something more saintly. So many hard facts conspire against me. To know that, though, is to make me cling the harder to gifts that appear to be given
without my having to deserve them. Flowers, beasts, the glinting trees. My disposition, which has moved me here to mute dispute with my great better, in spite of all my darker doubt. Inkling that something will soon come down like rain upon the mown grass, as showers that water the earth. Let us praise the Lord, and every weather. Or the smile on the mouth of my lover, which still can blind like snow.
Or the road agent waving from his bright-red plow as it smooths the mud-clotted back lanes over.
New Orleans’ Lower Ninth Ward, largely inhabited by poor African-American residents, looks not much different now from when the floodwaters receded. You have to wonder how Washington would have reacted if Katrina had hit a wealthy, white gated community.
David Gordon Green’s Snow Angels begins with the discordant sounds of a small-town high school band practicing on a football field under gray skies. It ends with the angry cry of a heartbroken grandmother calling to her dog from a back porch.
Men and women in black, a few at first and then more, move quickly and silently across the parking lot, like a slow rain beginning to fall into the dark mouth of the sanctuary. A blue jay screams curses from the skirts of a pecan tree.
Then comes the small girl the neighbors call “the urchin,” who spends each day alone flitting around the neighborhood like a trapped moth. She is surrounded by three patchy dogs.
She marches barefoot and chants a little song about the summer morning, three stray dogs, and her very own self. She passes between the mourners, a blade of blue sky cutting through storm cloud.
When she gets home, her mother will still sit like a sea wall in front of the Trinity Broadcasting Network with a can of beer. The urchin will go into the kitchen for a glass of warm tap water. The man in the coffin will still be dead. The mourners
will still gather and be sad. Nothing will be any better. The jay will keep screaming its malediction on the deep down meanness of the world. But, look now, for a moment: the song, the girl, and three loping dogs.
Religion is often on display in professional athletics, with the exception of the National Hockey League. The few hockey players who are open about their faith buck a tradition of reticence or downright distrustfulness toward religion. Unlike professional football or basketball, many NHL players come from Canada or Europe, where the culture is much more secular and religious faith is closely guarded. There is also the suspicion in hockey that a person of faith might be too soft a player. Some hockey clubs make chapel services available, but far fewer than in professional basketball (Boston Globe, April 5).