Professional Documents
Culture Documents
for Brontosaurus
BY THE SAME AUTHOR
Hosanna in excelsis.
Contents
Prologue
1 | HISTORY IN EVOLUTION
1 George Canning’s Left Buttock and the Origin of
Species
2 Grimm’s Greatest Tale
3 The Creation Myths of Cooperstown
4 The Panda’s Thumb of Technology
2 | DINOMANIA
5 Bully for Brontosaurus
6 The Dinosaur Rip-off
3 | ADAPTATION
7 Of Kiwi Eggs and the Liberty Bell
8 Male Nipples and Clitoral Ripples
9 Not Necessarily a Wing
6 | DOWN UNDER
17 Glow, Big Glowworm
18 To Be a Platypus
19 Bligh’s Bounty
20 Here Goes Nothing
7 | INTELLECTUAL BIOGRAPHY
Biologists
21 In a Jumbled Drawer
22 Kropotkin Was No Crackpot
23 Fleeming Jenkin Revisited
Physical Scientists
24 The Passion of Antoine Lavoisier
24 The Passion of Antoine Lavoisier
25 The Godfather of Disaster
Scopes to Scalia
28 William Jennings Bryan’s Last Campaign
29 An Essay on a Pig Roast
30 Justice Scalia’s Misunderstanding
10 | PLANETS AS PERSONS
34 The Face of Miranda
35 The Horn of Triton
Bibliography
Prologue
Postscript
Since typing falls into the category of things that
many, if not most of us, can do (like walking and
chewing gum simultaneously) this essay elicited
more commentary than most of my more obscure
ramblings.
Some queried the central premises and logic. An
interesting letter from Folsom Prison made a valid
point in the tough humor of such institutions. (I
receive many letters from prisoners and am always
delighted by such reminders that, at least for many
people, the quest for knowledge never abates, even
in most uncongenial temporary domiciles):
Postscript
I had never made an explicit request of readers
before, but I was really curious and couldn’t find the
answer in my etymological books. Hence, my little
answer in my etymological books. Hence, my little
parenthetical inquiry about segue: “Can anyone tell
me how this fairly obscure Italian term from my
musical education managed its recent entry into
trendy American speech?” The question bugged me
because two of my students, innocent alas (as most
are these days) of classical music, use segue all the
time, and I longed to know where they found it. Both
simply considered segue as Ur-English when I asked,
perhaps the very next word spoken by our ultimate
forefather after his introductory, palindromic
“Madam I’m Adam” (as in “segue into the garden
with me, won’t you”).
I am profoundly touched and gratified. The
responses came in waves and even yielded, I believe,
an interesting resolution. (These letters also
produced the salutary effect of reminding me how
lamentably ignorant I am about a key element of
American culture—pop music and its spin-offs.) I’ve
always said to myself that I write these essays
primarily for personal learning; this claim has now
passed its own test.
One set of letters (more than two dozen) came
from people in their twenties and thirties who had
been (or in a case or two, still are) radio deejays for
rock stations (a temporary job on a college radio
station for most). They all report that segue is a
station for most). They all report that segue is a
standard term for the delicate task (once rather
difficult in the days of records and turntables) of
making an absolutely smooth transition, without any
silence in between or words to cover the change,
from one song to the next.
I was quite happy to accept this solution, but I
then began to receive letters from old-timers in the
radio and film business—all pointing to uses in the
1920s and 1930s (and identifying the lingo of rock
deejays as a later transfer). David Emil wrote of his
work in television during the mid-1960s:
Antoine Lavoisier
Lost his head
Benjamin Franklin
Died in bed.
cry in public.
“Madame Jeanette” is a dangerous little piece, for
“Madame Jeanette” is a dangerous little piece, for
it ventures so near the edge of cloying
sentimentality. It tells the tale, in close four-part a
cappella harmony, of a French widow who sits at her
door by day and at her window by night. There she
thinks only of her husband, killed so many years
before on the battlefield of St. Pierre, and dreams of
the day that they will be reunited at the cemetery of
Père Lachaise. With 250 teenagers and sloppy
conducting, “Madame Jeanette” becomes a maudlin
and embarrassing tearfest. Wilhousky, ever the
perfectionist, ever the rationalist, somehow steered
to the right side of musicality, and ended each
concert with integrity and control.
“Madame Jeanette” was our symbol of continuity.
For a very insecure boy, singing second bass on the
brink of manhood, “Madame Jeanette” offered
another wonderful solace. It ends, for the basses, on
a low D-flat, just about as far down the scale as any
composer would dare ask a singer to venture. Yes, I
knew even then that low did not mean masculine, or
capable, or mature, or virile—but that fundament
resonated with hope and possibility, even in
pianissimo.
Len and I met at the bus stop every Saturday
morning at 7:30, took the Q17 to 169th Street and
the subway to Lexington Avenue, walked uptown
the subway to Lexington Avenue, walked uptown
along the line of the old Third Avenue El, and arrived
at Julia Richman High School just in time for the 9
A.M. rehearsal.
We lived, thirty years ago, in an age of readier
obedience, but I still marvel at the discipline that
Wilhousky could maintain with his mixture of awe
(inspired) and terror (promulgated). He forged our
group of blacks from Harlem, Puerto Ricans from the
great migration then in progress, Jews from Queens,
and Italians from Staten Island into a responsive
singing machine. He worked, in part, through
intimidation by public ridicule. One day, he stopped
the rehearsal and pointed to the tenor section,
saying: “You, third row, fourth seat, stand up. You’re
singing flat. Ten years ago, Julius La Rosa sat in that
same seat—and sang flat. And he’s still singing flat.”
(Memory is a curious trickster. La Rosa, in a recent
New Yorker profile, states that Wilhousky praised
him in the same forum for singing so true to pitch.
But I know what I heard. Or is the joke on me?) Each
year, he cashiered a member or two for talking or
giggling—in public, and with no hope of mercy or
reinstatement.
But Peter Wilhousky had another side that
inspired us all and conveyed the most important
lesson of intellectual life. He was one of the finest
lesson of intellectual life. He was one of the finest
choral conductors in America, yet he chose to spend
every Saturday morning with high school kids. His
only rule, tacit but pervasive, proclaimed: “No
compromises.” We could sing, with proper training
and practice, as well as any group in America—
nothing else would be tolerated or even
conceptualized. Anything less would not be worth
doing at all. I had encountered friendliness, grace,
kindness, animation, clarity, and dedication among
my teachers, but I had never even considered the
notion that unqualified excellence could emerge
from anything touched or made by students. The
idea, however, is infectious. As I worked with
Wilhousky, I slowly personalized the dream that
excellence in one activity might be extended to
become the pattern, or at least the goal, of an actual
life.
Len phoned me a few months ago and suggested
that we attend this year’s concert, the thirtieth since
our valedictory. I hesitated for two reasons. I feared
that my memory of excellence would not be
supported by reality, and I didn’t relish the role of a
graybeard from springs long past, standing and
singing “Madame Jeanette” from the audience,
should that peculiar tradition still be honored. But
sentiment and curiosity prevailed, and we went.
sentiment and curiosity prevailed, and we went.
Yes, Heraclitus, you cannot step twice into the
same river. The raw material remains—talented kids
of all colors, shapes, backgrounds. But the goal has
been inverted. Wilhousky tried to mold all this
diversity into the uncompromising, single standard
of elite culture as expressed in the classical
repertory for chorus and orchestra. In the
auditorium of Julia Richman High School, before his
arrival, we used to form small pickup groups to sing
the latest rock-and-roll numbers. But when our
sentinels spotted the maestro, they quickly spread
the alarm and dead silence descended. Wilhousky
claimed that rock-and-roll encouraged poor habits of
voice and pitch, and he would expel anyone caught
singing the stuff in his bailiwick.
Diversity has now triumphed, and the forbidden
fruit of our era has become the entire first part of the
program. The concert began with the All-City
marching band, complete with drum major, baton
twirlers, and flag carriers. Then the All-City jazz
ensemble.
A full concert and two hours later, the orchestra
and chorus finally received their turn. Not only has
the number of ensembles expanded to respect the
diversity of tastes and inclinations in our polyglot
city, but each group has also retained a distinctive
city, but each group has also retained a distinctive
signature. Blacks predominate in the chorus; the
string sections of the orchestra are overwhelmingly
Asian. The chorus is now led by Edith Del Valle, a
tall, stunning woman who heads the vocal
department at Fiorello H. La Guardia High School of
the Arts. (As a single sign of continuity, Anna Ext still
coaches the sopranos, as she did in our day and has
for thirty-two years. How can we convey adequate
praise to a woman who has devoted so much, for so
long, to a voluntary, weekend organization—except
to say that our language contains no word more
noble than “teacher”?)
The chorus still sings the same basic repertory—
Randall Thompson’s “Alleluia,” Wilhousky’s own
arrangement of “The Battle Hymn of the Republic,”
some Bach and Beethoven, and an Irving Berlin
medley for the season of his centennial.
How good are they, and how good were we? Was
Wilhousky’s insistence on full professionalism just a
vain conceit? They sing by memory, and therefore
(since eyes can be fixed on the conductor), with
uncanny precision and unanimity. But I demur for
two reasons. First, the sound, though lovely in raw
quality, is so emotionless, as though text and style of
composition have no influence upon interpretation.
Perhaps we sang in the same manner. The soul of
Perhaps we sang in the same manner. The soul of
these classics may not be accessible before the legal
age of drinking, driving, and voting.
But my second reservation troubles me more. The
chorus is terribly unbalanced, with 129 women and
only 31 men. The tenors are reduced to astringent
shouting as the evening wears on. This cannot be by
design, and can only mean that the chorus is not
attracting anywhere near the requisite number of
male applicants. Thirteen of the 31 men hail from the
conductor’s own specialty school, La Guardia High.
Have they been pressed into desperate service? In
our chorus, all sections were balanced. We clamored
in our local high schools for the strictly limited right
to audition, and fewer than half the applicants
succeeded.
I mused upon these inadequacies as the evening
wore on (and the tenors tired). The expanded
diversity of bands and jazz is both exciting and a
proper testimony to cultural pluralism. The relaxed
attitude of performers contrasts pleasantly with the
rigid formalism and nervousness of our era (I could
have died in a spectacular backward plunge off the
top riser of Carnegie Hall when I felt the chair’s
rearward creep, but didn’t dare stop to fidget and
readjust).
But has the evening’s diversity and spontaneous
But has the evening’s diversity and spontaneous
joy pushed aside Wilhousky’s uncompromising
excellence? Can the two ideals, each so important in
itself, coexist at all? And if not, whatever shall we do
to keep alive that harsh vision of the best of the
greatest?
But if I felt this single trouble amidst my pleasure,
at least I wouldn’t have to worry about “Madame
Jeanette” in this new river. Surely, that tradition had
evaporated, and I would not have to face brightness
and acne from the depths of advancing middle age in
the fifteenth row. After all, “Madame Jeanette” is a
quiet classical piece for chorus alone—and the
chorus no longer holds pride of place among the
various ensembles.
I applauded warmly after the finale, pleasure only
slightly tinged with a conceptual sort of sadness, and
then turned to leave. But Edith Del Valle strode out
from the wings and, with a presence fully equal to
Wilhousky’s, stepped onto the podium—to conduct
“Madame Jeanette.” Old members scurried to the
front. Len and I looked at each other and, without
exchanging a word, rose in unison.
No tears. We are both still terrified of Wilhousky’s
wrath, and his ghost surely stood on that stage,
watching carefully for any sign of inattention or
departure from pitch. This time, the chorus sang
departure from pitch. This time, the chorus sang
exquisitely, for “Madame Jeanette” succeeds by
precision or fails by overinvolvement. The
imbalance of sections does not affect such a quiet
song, while its honest, but simple, sentimentality can
be encompassed by the high-school soul.
Edith Del Valle, the black woman from La Guardia
High, blended with her absolute opposite, the silver-
haired Slavic aristocrat, Peter J. Wilhousky. The
discipline and precision of her chorus—their species
of excellence—had triumphed to convert the
potentially maudlin into thoughtful dignity for
tradition’s sake. It was a pleasure to make music
with her. If youth and age can produce such
harmony, there must be hope for pluralism and
excellence—but only if we can recover, and fully
embrace, Wilhousky’s dictum: No compromises.
I learned something else at this final celebration
of continuity, something every bit as important to
me, if only parochially: I can still hit that low D-flat.
Father Lachaise may be beckoning, but “Madame
Jeanette” and I are still hanging tough and young in
our separate ways.
Postscript
This essay, which first appeared in the New York
This essay, which first appeared in the New York
Times Magazine, unleashed a flood of reminiscence
by correspondence, mostly from former chorus
members and others who knew Peter Wilhousky. I
was regaled with many sweet memories, particularly
of our custom in jamming subway cars after leaving
the rehearsals en masse and singing (generally to the
keen surprise and enjoyment of passengers) until
the accumulating departures of homebound
choristers reduced our ranks to less than four-part
harmony. But one theme, in its several guises,
pervaded all the letters and reinforced the serious,
and decidedly nonsentimental, raison d’être of this
essay—Wilhousky’s commitment to excellence and
its impact upon us. One woman wrote from a
generation before mine:
Postscript
Abbott H. Thayer extended his flamingo theory ever
further than I had realized. Historian of science
Sharon Kingsland, who wrote an excellent technical
article on “Abbott Thayer and the Protective
Coloration Debate” in 1978 (and who therefore
would have made my own work ever so much easier
had I known of her prior efforts), sent me a 1911
note by Thayer triumphantly announcing a new
genre of paintings with backgrounds made from the
actual skins of animals supposedly concealed by
their colors and markings. Thayer wrote, including
flamingos of course:
Melson continued:
All naval concealment and camouflage is designed
for protection against the horizon in the case of
shipping and either for concealment against a sea
or sky background, again at long ranges, for
aircraft. [Note from my essay how much of
Thayer’s work involved “disappearance” of an
image seen against the sky or horizon.] Thayer’s
“protective coloration” designs were outstanding
for aircraft, light undersides and dark above [as
fish, seen from below by their predators, tend to
display]. Ship concealment for temperate and
tropical oceans employed the “protective
coloration” designs, while “ruptive” or
“disruptive” designs worked best against polar
backgrounds.
Postscript
Nothing brings greater pleasure to a scholar than
utility in extension—the fruitfulness of a personal
thought or idea when developed by colleagues
beyond the point of one’s own grasp. I make a
tangential reference in this essay to a common
paradox—the apparent pattern of random arrays
versus the perceived absence of sensible order in
truly rule-bound systems. This paradox arises
because random systems are highly clumped, and
we perceive clumps as determined order. I gave the
example of the heavens—where we “see”
constellations because stars are distributed at
random relative to the earth’s position. I contrasted
our perception of heavenly order with the artificial
“sky” of Waitomo Cave—where “stars” are the self-
illuminated rear ends of fly larvae. Since these
carnivorous larvae space themselves out in an
ordered array (because they eat anything in their
vicinity and therefore set up “zones of inhibition”
around their own bodies), the Waitomo “sky” looks
strange to us for its absence of clumping.
My favorite colleague, Ed Purcell (Nobel laureate
in physics and sometime collaborator on baseball
statistics), read this tangential comment and wrote a
quick computer program to illustrate the effect. Into
an array of square cells (144 units on the X-axis and
96 on the Y-axis for a total of 13,824 positions),
Purcell placed either “stars” or “worms” by the
following rules of randomness and order (following
the heavens versus the fly larvae of Waitomo). In the
stars option, squares are simply occupied at random
(a random number generator spits out a figure
between 1 and 13,824 and the appropriate square is
inked in). In the worms option, the same generator
spits out a number, but the appropriate square is
inked in only if it and all surrounding squares are
unoccupied (just as a worm sets up a zone of
inhibition about itself). Thus, worm squares are
spaced out by a principle of order; star squares are
just filled in as the random numbers come up.
Now examine the patterns produced with 1,500
stars and worms (still less than 50 percent capacity
for worms, since one in four squares could be
occupied, and 3,456 potential worm holes therefore
exist). By ordinary vernacular perception, we could
swear that the “stars” program must be generating
causal order, while the “worms” program, for
apparent lack of pattern, seems to be placing the
squares haphazardly. Of course, exactly the opposite
is true. In his letter to me, Ed wrote:
Postscript
It is my sad duty to report a change of state, between
writing and republishing this essay, that has made
its title eerily prophetic. Rheobatrachus silus, the
stomach-brooding frog and star of this essay, has
apparently become extinct. This species was
discovered in 1973, living in fair abundance in a
restricted region of southeast Queensland, Australia.
In early 1990, the National Research Council (of the
United States) convened a conference to discuss
United States) convened a conference to discuss
“unexplained losses of amphibian populations
around the world” (as reported in Science News,
March 3, 1990). Michael J. Tyler, member of the team
that discovered stomach brooding in Rheobatrachus,
reported that 100 specimens could easily be
observed per night when the population maintained
fair abundance during the mid-1970s. Naturalists
have not found a single individual since 1981, and
must now conclude that the species is extinct (for
several years they hoped that they were merely
observing a sharp and perhaps cyclical reduction in
numbers). Even more sadly, this loss forms part of a
disturbing and unexplained pattern in amphibian
populations throughout the world. In Australia
alone, 20 of 194 frog species have suffered serious
local drops in population size during the past
decade, and at least one other species has become
extinct.
7 | Intellectual Biography
21 | In a Jumbled Drawer
Postscript
My parochialism and ignorance in the case of
Fleeming Jenkin were even deeper than I had
realized. Having corrected the most blatant omission
of failing to recognize the importance of his mainline
career in engineering, I discovered, after publishing
career in engineering, I discovered, after publishing
this essay, that I had also missed a tangential foray
equal in importance to Jenkin’s critique of Darwin.
Several professors of economics wrote to inform me
that Jenkin had made cogent contributions to the
“dismal science” as well.
Robert B. Ekelund, Jr., of Auburn University,
stated:
Preservation Hall guards against too frequent
repetition of the most familiar with the usual
currency of our culture—currency itself. Scholars
must seek other, more active tactics. We must have
gadflies—and historical figures may do posthumous
service—to remind us constantly that our usual
preferences, channels, and biases are not inevitable
modes of thought. I nominate William Whiston to the
first rank of reminders as godfather to punctuational
theories of change in geology.
Funny, isn’t it? Whiston longed “to be in that
number, when the Saints go marching in” in fact, he
wrote the New Theory largely to suggest that
cometary impact would soon usher in this blessed
millenium. Yet he is now a soul mate to those who
wish to hear a different drummer.
8 | Evolution and Creation
26 | Knight Takes Bishop?
Amen, brother!
Postscript
As I was writing this essay, I learned of the untimely
death from cancer (at age forty-seven) of Federal
Judge William R. Overton of Arkansas. Judge Overton
presided and wrote the decision in McLean v.
Arkansas (January 5, 1982), the key episode that led
to our final victory in the Supreme Court in June
1987. In this decision, he struck down the Arkansas
law mandating equal time for “creation science.”
This precedent encouraged Judge Duplantier to
strike down the similar Louisiana law by summary
judgment (without trial). The Supreme Court then
affirmed this summary judgment in their 1987
decision. (Since Arkansas and Louisiana had passed
the only anti-evolution statutes in the country, these
decisions close the issue.) Judge Overton’s brilliant
and beautifully crafted decision is the finest legal
document ever written about this question—far
surpassing anything that the Scopes trial generated,
or any document arising from the two Supreme
Court cases (Epperson v. Arkansas of 1968, striking
down Scopes-era laws that banned evolution
outright, and the 1987 decision banning the “equal
time” strategy). Judge Overton’s definitions of
science are so cogent and clearly expressed that we
can use his words as a model for our own
proceedings. Science, the leading journal of American
professional science, published Judge Overton’s
decision verbatim as a major article.
I was a witness in McLean v. Arkansas (see Essay
21 in Hen’s Teeth and Horse’s Toes). I never spoke to
Judge Overton personally, and I spent only part of a
day in his courtroom. Yet, when I fell ill with cancer
the next year, I learned from several sources that
Judge Overton had heard and had inquired about my
health from mutual acquaintances, asking that his
best wishes be conveyed to me. I mourn the passing
of this brilliant and compassionate man, and I
dedicate this essay to his memory.
29 | An Essay on a Pig Roast
boundaries of nature.
Finally, to Kirwan’s charge that Hutton had
limited science by his “evasion” of origins, Playfair
responded that his friend had strengthened science
by his positive program of studying what could be
resolved:
popular misunderstandings.
I have written these monthly essays for nearly
I have written these monthly essays for nearly
twenty years, and they have brought me an
enormous correspondence from non-professionals
about all aspects of science. From sheer volume, I
obtain a pretty good sense of strengths and
weaknesses in public perceptions. I have found that
one common misconception surpasses all others.
People will write, telling me that they have
developed a revolutionary theory, one that will
expand the boundaries of science. These theories,
usually described in several pages of single-spaced
typescript, are speculations about the deepest
ultimate questions we can ask—what is the nature
of life? the origin of the universe? the beginning of
time?
But thoughts are cheap. Any person of intelligence
can devise his half dozen before breakfast. Scientists
can also spin out ideas about ultimates. We don’t (or,
rather, we confine them to our private thoughts)
because we cannot devise ways to test them, to
decide whether they are right or wrong. What good
to science is a lovely idea that cannot, as a matter of
principle, ever be affirmed or denied?
The following homily may seem paradoxical, but it
embodies Hutton’s wisdom: The best science often
proceeds by putting aside the overarching generality
and focusing instead on a smaller question that can
and focusing instead on a smaller question that can
be reliably answered. In so doing, scientists show
their intuitive feel for the fruitful, not their
narrowness or paltriness of spirit. In this way we
sneak up on big questions that only repel us if we try
to engulf them in one fell speculation. Newton could
not discover the nature of gravity, but he could
devise a mathematics that unified the motion of a
carriage with the revolution of the moon (and the
drop of an apple). Darwin never tried to grasp the
meaning of life (or even the manner of its origin on
our planet), but he did develop a powerful theory to
explain its manner of change through time. Hutton
did not discover how our earth originated, but he
developed some powerful and testable ideas about
how it ticked. You might almost define a good
scientist as a person with the horse sense to discern
the largest answerable question—and to shun
useless issues that sound grander.
Hutton’s positive principle of restriction to the
doable also defines the domain and procedures of
evolutionary biology, my own discipline. Evolution
is not the study of life’s ultimate origin as a path
toward discerning its deepest meaning. Evolution, in
fact, is not the study of origins at all. Even the more
restricted (and scientifically permissible) question
of life’s origin on our earth lies outside its domain.
of life’s origin on our earth lies outside its domain.
(This interesting problem, I suspect, falls primarily
within the purview of chemistry and the physics of
self-organizing systems.) Evolution studies the
pathways and mechanisms of organic change
following the origin of life. Not exactly a shabby
subject either—what with such resolvable questions
as “How, when, and where did humans evolve?”
“How do mass extinction, continental drift,
competition among species, climatic change, and
inherited constraints of form and development
interact to influence the manner and rate of
evolutionary change?” and “How do the branches of
life’s tree fit together?” to mention just a few among
thousands equally exciting.
In their recently aborted struggle to inject Genesis
literalism into science classrooms, fundamentalist
groups followed their usual opportunistic strategy of
arguing two contradictory sides of a question when
a supposed rhetorical advantage could be extracted
from each. Their main pseudoargument held that
Genesis literalism is not religion at all, but really an
alternative form of science not acknowledged by
professional biologists too hidebound and dogmatic
to appreciate the cutting edge of their own
discipline. When we successfully pointed out that
“creation science”—as an untestable set of dogmatic
“creation science”—as an untestable set of dogmatic
proposals—could not qualify as science by any
standard definition, they turned around and
shamelessly argued the other side. (They actually
pulled off the neater trick of holding both positions
simultaneously.) Now they argued that, yes indeed,
creation science is religion, but evolution is equally
religious.
To support this dubious claim, they tumbled (as a
conscious trick of rhetoric, I suspect) right into
Kirwan’s error. They ignored what evolutionists
actually do and misrepresented our science as the
study of life’s ultimate origin. They then pointed out,
as Hutton had, that questions of ultimate origins are
not resolvable by science. Thus, they claimed,
creation science and evolution science are
symmetrical—that is, equally religious. Creation
science isn’t science because it rests upon the
untestable fashioning of life ex nihilo by God.
Evolution science isn’t science because it tries, as its
major aim, to resolve the unresolvable and ultimate
origin of life. But we do no such thing. We
understand Hutton’s wisdom—“he has nowhere
treated of the first origin…of any substance…but
only of the transformations which bodies have
undergone…”
Our legal battle with creationists started in the
Our legal battle with creationists started in the
1920s and reached an early climax with the
conviction of John Scopes in 1925. After some
quiescence, the conflict began in earnest again
during the 1970s and has haunted us ever since.
Finally, in June 1987, the Supreme Court ended this
major chapter in American history with a decisive
7–2 vote, striking down the last creationist statute,
the Louisiana equal time act, as a ruse to inject
religion into science classrooms in violation of First
Amendment guarantees for separation of church and
state.
I don’t mean to appear ungrateful, but we fallible
humans are always seeking perfection in others. I
couldn’t help wondering how two justices could
have ruled the other way. I may not be politically
astute, but I am not totally naive either. I have read
Justice Scalia’s long dissent carefully, and I recognize
that its main thrust lies in legal issues supporting
the extreme judicial conservatism espoused by
Scalia and the other dissenter, Chief Justice
Rehnquist. Nonetheless, though forming only part of
his rationale, Scalia’s argument relies crucially upon
a false concept of science—Kirwan’s error again. I
regret to say that Justice Scalia does not understand
the subject matter of evolutionary biology. He has
simply adopted the creationists’ definition and
simply adopted the creationists’ definition and
thereby repeated their willful mistake.
Justice Scalia writes, in his key statement on
scientific evidence: