Even in Maine’s rain and fog I catch them, often in pairs, or waiting, patient, perched on a scarcely bending twig of our aged forsythia, then working the window box petunias till the coast seems clear, while I hover, motionless, on the shadowed porch, hungry for still another glimpse of ruby throat and emerald layered coat, the delicate dip of beak in cup, the tilted head, the blur of wings, that sudden flash of movement— now-you-see-me-now-you-don’t. Whatever it may be in me— some wandered/wondered child— that makes me watch and wait, this late, the daily hours to catch their, almost holy, visitations, I’m grateful for it, mindful too of one who, every once in a long while, still hovers back there just beyond, behind the nearest edge of solitude, or prayer, or even glimpses of the tiniest of birds.
Concept of green, shape of a crystal bird, Color and form locked in the synapses Even neuritic plaque cannot destroy— Although we cannot know with certainty. But by the evidence there must exist A sense of order, of a certain kind, And things appear where they have never been, In neat arrangements of a different kind. Among the lambent eggs and crystal birds, Given as gifts to a beloved one, I find green leaves torn from a growing plant, Arranged in shape, a graceful trinity: O, I am glad I did not say a word, Perhaps she thought green leaves would feed the bird.
In the third Harry Potter movie based on J. K. Rowling’s wondrous series of children’s novels, filmmaker Alfonso Cuarón takes the wheel from Chris Columbus, who steered both of the earlier pictures. It would be hard to think of a director with finer credentials for the job.
We practiced at “The Decontam”— clumsy name for an ugly place—bare concrete rooms buried beneath a protective pyramid mound of soil, turf, and God knows what, designated sanctuary nonetheless for any unlucky enough “in the event of nuclear attack” to survive the initial blast and burn to reach this subterranean space of hollow refuge. The Station Decontamination Centre—to rhyme the place in full, an—as yet—unfrequented location (praises be . . .) where, Tuesday nights, an ill-assorted crew of horns and woodwinds—sackbuts, cornets, clarinets, even the occasional bassoon—would fumble-stumble along through “Colonel Bogey,” “The RAF March Past,” old favorites from Gilbert and Sullivan, “Chu Chin Chow,” and Noel Coward, rehearsing for the CO’s garden party, full-dress dinner evenings at the Mess. They echoed so, those naked rooms and sounding corridors, as if our music might drown out—yes, decontaminate—the cold, blind fury cradled tight beneath the wings of our sleek avenging bombers; full squadrons perched above in laden readiness, paying no heed to our hapless melodies and marches.
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).