Great westerns have always wrestled with moral issues. John Ford’s The Searchers tackles racism; Howard Hawks’s Red River, loyalty; Sam Peckinpah’s The Wild Bunch, honor; Sergio Leone’s Once Upon a Time in the West, revenge; Clint Eastwood’s Unforgiven, redemption.
The satirical comedy Art School Confidential features Jerome Platz (Max Minghella) as a student at a prestigious Manhattan art college who discovers that it’s not the paradise he dreamed it would be. His classmates lack taste and imagination, his instructors are competitive and self-involved, and everyone is focused on the promise of a glitzy career rather than on education.
In the two-CD effort Why Not Sea Monsters? Songs from the Hebrew Scriptures and New Testament,(CarpetSquare) Justin Roberts steers clear of any ham-fisted agenda while staying faithful to the power and majesty of the Bible stories, and making them his stories. On the “Hebrew Scriptures” CD, Roberts gets things off to a clever start with “Why Not a Spark?” Singing in a style that suggests John Lennon, James Taylor and Glenn Tilbrook, Roberts lays out the tale of creation as if God were a smiling child in a swirling cosmic sandbox: “On the fourth day / God said, Where are the stars? / Where’s Mercury, Venus and Mars?/ Where’s all those old rusty cars? / Wait, that’s later!”
A curving trail—the callused field obscures it until we shovel out the clotted brick, lug a ton or two of sand to fit trenches, level rumpled earth, correct courses. A mallet stuns a thumb, new blisters bud as self-impressed we shout, “This row is done!” but then a kid names names, prefers George Toad, Kate Cricket, slaps William Mosquito, pats Barkly, unleashed, our best company. We rest and share cold drinks. David brings homemade muffins, burned, blueberry plenty. Sun flickers around us, summer’s wings. Yet sand, we need more sand! Deer watch from trees while we adjust the pathways on our knees.
Philosopher Michael Ruse is an ardent evolutionist and unbeliever, but he often comes to the defense of believers who are under fire from militant atheists like Richard Dawkins. Ruse says his sympathetic stance toward religion is partly due to his Quaker upbringing. “I grew up surrounded by gentle, loving (and very intelligent) Christians. I never forget that,” said Ruse. He also objects to what he regards as bad atheist arguments. Evolution explains the existence of religion as an adaptive mechanism, but that doesn’t necessarily explain it away. “It is as plausible that my love of Mozart’s operas is a byproduct of adaptation, but it doesn’t make them any the less beautiful and meaningful,” Ruse said (New York Times interview, July 8).