Science

Faustus to Helen of Troy from Doctor Faustus, by Christopher Marlowe Was this the face that launched a thousand ships? And burnt the topless towers of Ilium? Sweet Helen, make me immortal with a kiss. Her lips suck forth my soul, see where it flies: Come Helen, come give me my soul again. Here will I dwell, for heaven be in these lips, And all is dross that is not Helena. I will be Paris, and for love of thee, Instead of Troy shall Wittenberg be sacked, And I will combat with weak Menelaus, And wear thy colours on my plumed crest. Yea I will wound Achilles in the heel, And then return to Helen for a kiss. O thou art fairer than the evening air, Clad in the beauty of a thousand stars.

In a promotional video clip, Sebastian Faulks describes his new novel, A Possible Life, as like ‘a symphony in five movements... or an album in which the tracks are separate but the whole thing adds up to more than the sum of its parts.’ The idea of the musical novel – held together by themes, motifs and echoes rather than a linear plot – has been discussed or attempted by authors from Flaubert to Kundera. So what has Faulks, with his bestseller know-how, brought to this fragile form? We are given five separate stories with a large historical and geographical range.

Everybody knows that the heart pumps blood around the body, and that a man called William Harvey somehow discovered this fact. Before Harvey, people thought that blood moved around the body in a sluggish fashion. But then Harvey — who was born 14 years after Shakespeare — noticed that, actually, blood shoots out of the heart with great force, travels through the arteries, and then makes its way back to the heart through the veins. To find this out, in an age before X-rays, sonograms or heart monitors, you would, if you think about it, have had to be a pretty gruesome sort of person. As soon as I started this book, I was gripped with a curiosity I should, I realised, have had all along. How did Harvey make his discovery?

Like the dyslexic Faustus who sold his soul to Santa, the life of John Dee was a black comedy of errors. His vain and vulgar efforts to harness the occult for material ends often rendered him ridiculous. But there is a darker tale in Dee’s work for the Tudor state: a story of dodgy dossiers, fear-mongering and greed. During the Tudor period no clear distinction was made between science and magic. John Dee’s study at Cambridge of arithmetic, geometry and astronomy enabled him to become a navigational consultant, who worked with England’s greatest explorers. But it also helped him measure the rays of celestial virtue that emanated from the stars and influenced human affairs. Mathematics helped him predict the future — and that was a much sought-after skill.

In December 2005, a passenger on an early-morning flight from Dallas to Las Vegas fell asleep. Woken by a steward when the plane touched down, the man wearily disembarked and took a connecting flight to San Francisco. It was only there that he realised he’d forgotten an item of hand luggage on the first flight. Despite heroic attempts to retrieve it, the item was never seen again. This is a pity. The item was the head of Philip K. Dick. Not his real head, of course. That had been cremated, along with the rest of the science fiction writer, in 1982, shortly before the release of Blade Runner, the film based on his novel Do Androids Dream of Electric Sheep? The head was part of a robotic replica of Dick (and yes, its creators did toy, briefly, with calling it the Dick Head).

With all the advances of science, we may be no nearer to understanding ourselves than before, says Anthony Daniels — but we shouldn’t dismiss the possibility outright Some years ago I had a patient who believed that his neighbours, unskilled workers like himself, had developed an electronic thought-scanner whose antennae they could, and did, direct at him in order to know his thoughts as and when he had them. He heard them laughing and jeering at the banalities with which, inevitably, his mind was filled most of the time. Needless to say, he found this intrusive and oppressive, and it made him murderously angry. As life follows art, science follows delusion.

‘La justice flétrit, la prison corrompt et la société a les criminels qu’elle mérite’ — Justice withers, prison corrupts, and society gets the criminals it deserves. ‘La justice flétrit, la prison corrompt et la société a les criminels qu’elle mérite’ — Justice withers, prison corrupts, and society gets the criminals it deserves. With that terrifying and depressing thought, the fin-de- siècle criminologist Jean-Alexandre-Eugène Lacassagne summed up his views at the end of his long career.