Steven Shapin

The DNA molecule is as interesting in social theory as it is in science. It is the great Modernist molecule: the ultimate chemical basis of our common humanity, what makes biologically equivalent all those whom the Enlightenment supposed to be created equal. The fact that we know these things about DNA testifies to the authority of the greatest Modernist cultural enterprise, the natural sciences. DNA is also an anti-Modernist molecule: a molecular warrant for all the natural differences the conservative thinker could ever want to identify and insist on – differences between unique individuals, between the sexes, races and nations. From this point of view the idea of French DNA – its distinctive populational characteristics – makes as much sense as the idea of, say, Bill Clinton’s DNA. And DNA is a Post-Modernist molecule, since fragments of our contemporary expert culture insist that the reflexive condition for believing these things about DNA, or indeed disbelieving them, is ultimately ascribable to the workings of DNA itself, while the knowledge of those workings is an authentic item of our culture. So what are the intellectual, institutional and legal schemes of things in terms of which the Frenchness of DNA might come to be insisted on?’

In one of the most celebrated expressions of scientific humility, Isaac Newton said that he felt himself to have been ‘only like a boy playing on the seashore … whilst the great ocean of truth lay all undiscovered before me’. Kary Mullis approaches the seashore from a different direction. On the day he won the 1993 Nobel Prize for Chemistry, Mullis went surfing. The camera crews tried to follow him down the Southern California coast, ‘asking everyone who came out of the water whether he was Kary Mullis’. Mullis was enjoying his new-found anonymity and got a surfer-dude friend to admit to being the great man himself. How does it feel to win the Nobel Prize? The surfer-dude was word-perfect: ‘It’s like a dream come true.’ By the time Mullis had towelled off and chilled out, the paparazzi were laying siege to his house. ‘As it turned out,’ he writes, ‘none of the other Nobel laureates that year were serious about surfing, and “Surfer Wins Nobel Prize” made headlines.’‘

It is a contemporary American morality play. The leading roles are played by an alpha male and his junior female colleague; bad behaviour between them is alleged; accusations of lying fly about; charges of cover-up garnish the original accusation; an ad hoc government investigative team runs amok, and due process is trampled underfoot; the credibility of the senior male is tarnished, and he is deemed unsuitable for high office; reputations are damaged; valued institutions are undermined; colleagues turn against each other and the whole affair has a poisonous effect on normal social relations. DNA evidence is crucial to the case, but all finally comes down to questions of intent which material evidence of deeds cannot unambiguously decide. Ultimately, many in the audience to whom the drama played for so long weary of it and wonder whether the chase has been worth the quarry, yet all are agreed that both the alleged bad behaviour and the means of making it accountable are deeply symptomatic of the state into which America has got itself.

Joined for all time on the title-page of the Book that Made the Modern World are Isaac Newton (who wrote the Principia Mathematica) and Samuel Pepys (who, as President of the Royal Society, licensed it to be printed). It is one of the oddest couples in the history of thought: the man who, as a late 17th-century Cambridge student was heard to say, had ‘writt a book that neither he nor any body else understands’ and one of the multitude who understood scarcely a word of it; the wholly other and the all-too-human; the virgin ascetic who accused John Locke of trying to ‘embroil’ him with women, and the supreme London boulevardier whose consuming passions included Château Haut-Brion, the theatre and serial embroilments with women.‘