Since bursting onto the national scene in 1989 with his celebrated documentary Roger & Me, Michael Moore has gone from being that goofy overweight filmmaker in tennis shoes and a baseball cap to being the resolute voice of the common American. His battles with the powers-that-be have cast him as a modern-day Frank Capra.
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.
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.
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.
The diaries of World War I poet Siegfried Sassoon have been digitized and made available to the public by the University of Cambridge. Sassoon, a British soldier, was quickly disillusioned by the war and became an outspoken war critic. His diaries feature poetry, prose, and drawings and include his 1917 antiwar “Soldier’s Declaration,” which got him committed to a hospital for the duration of the war. He described the first day of the Battle of Somme as a “sunlit picture of hell” (BBC, July 31).