Roseate spoonbill at Olney Pond
(click for greater clarity)
The morning seemed unusually quiet. At the edge of Olney Pond, a single spoonbill stirred the water, swinging its bill with a pendulum-like rhythm: shrimp, fish; shrimp, fish; shrimp, fish. Glossy ibis, long-billed and svelte, picked over their sandbar like latecomers to brunch. Only the stilts, hidden among the rushes and reeds, shredded the silence with their sharp, clean yips of warning and complaint.
In the rising heat, clouds bubbled and built before bending to the will of the winds. Distracted by their shifting shapes, I barely noted the soft, muted sound behind me. Then, I heard it again: the sound of a pillowcase being snapped and shaken out before being pinned to a clothesline.
While considering the possibilities — Alligator? Hunter? Frogs? — I heard the sound again: closer this time, and more resonant. Suddenly, with a fluttering of wings and loud, croaking cries, a great egret dressed in breeding plumage landed at the edge of the pond.
Mr. Grumpy (click image to enlarge)
If his verse is any indication, Ogden Nash met his own grumpy grackle, and wasn’t particularly impressed:
The grackle’s voice is less than mellow,
his heart is black, his eye is yellow.
He bullies more attractive birds
with hoodlum deeds and vulgar words,
and should a human interfere,
attacks that human in the rear.
I cannot help but deem the grackle
an ornithological debacle.
Despite Nash’s characterization, the grackle I came to know as Mr. Grumpy didn’t seem inclined toward bullying or attacks. Though loud, impertinent, and insistent, he wasn’t at all aggressive. He only wanted to be noticed: preferably by a female of his own species. That hunger for attention and approval appeared to lie near the heart of his aggravation. Continue reading
In 1950’s small town Iowa, Mardi Gras was barely a rumor. We’d read now and then of the bead-tossing, the parades, the exotic French Quarter celebrations with their hints of unspeakable, masked misbehavior. But we were midwesterners, with midwestern sensibilities, and gave little thought to those far-away customs.
Even neighbors who traveled to New Orleans seemed to consider Mardi Gras a purely native ritual, disconnected from their experience of the city. Their souvenirs – long, gray-green sweeps of Spanish moss, Hurricane glasses from Pat O’Brien’s, recordings of Sweet Emma Barrett’s piano and Willie Humphrey’s exquisite clarinet – were the stuff of any vacation. As we listened to their jazz and looked at their photos, New Orleans’ life seemed normal enough, recognizable despite its differences. On the other hand, Mardi Gras seemed odd, slightly degenerate, part of a world of drunkenness and debauchery best avoided by reasonable people. Continue reading