Archive for the ‘History of Science’ category

John Locke, A Thermometer, A Bullet, And What Gets Lost When Feral Children Break Things

May 7, 2017

I’ve got a piece in today’s Boston Globe that takes a kind of odd look at why Trump’s dalliance with destroying NATO was so pernicious.

Basically, I look at what goes into making an alliance or any complex collaboration function.  Spoiler alert: it’s not the armchair strategist focus on troop numbers or budget levels.  It is, rather, the infrastructure, in its material and especially social forms that determine whether joint action can succeed.

To get there I leap from the story of something as basic as agreeing on one common cartridge to be used across the alliance to an anecdote from the early days of the scientific revolution, when John Locke (yup, that Locke) left his borrowed rooms in a house in Essex to check the readings from the little weather station he’d set up at the suggestion of Robert Hooke.

A sample:

While this first step toward the standardization of the tools of science was a milestone, it took the development of a common process — shared habits, ways of working — to truly transform the eager curiosity of the 17th and 18th centuries into a revolutionary new approach to knowledge, the one we now call science. In 1705, the Philosophical Transactions of the Royal Society published an article by the philosopher John Locke. It was a modest work, just a weather diary: a series of daily observations of temperature, barometric pressure, precipitation, cloud cover. He was a careful observer, working with the best available instruments, a set built by Tompion himself. On Sunday, Dec. 13, 1691, for example, Locke left his rooms just before 9 a.m. The temperature was 3.4 on Tompion’s scale — a little chilly, but not a hard frost. Atmospheric pressure had dropped slightly compared to the day before, 30 inches of mercury compared to 30.04. There was a mild east wind, 1 on Locke’s improvised scale, enough to “just move the leaves.” The cloud cover was thick and unbroken — which is to say it was an entirely unsurprising December day in the east of England: dull, damp, and raw.

The reasoning does, I think, more or less come together — and you might enjoy reading such a convoluted bit of historical argument.

In any event, posting this here lets me thank Adam Silverman, who talked through some of the ideas with me and gave me other valuable help. Any errors you might find within the piece are all mine.

Image: Tsukioka Yoshitoshi, Nagamaya Yaichi Ducking Bullets1878.

For A Good Time On The InterTubes (Self Aggrandizement Alert)

May 6, 2012

Most of you probably know that I published a book (my fourth!) a couple of years ago:  Newton and the Counterfeiter. (Kindle, Nook, Indiebound, Powell’s multiplatform ebook and Powell’s, Barnes and Noble, Amazon, Amazon UK, audio version, Your Local Book Store)

As you all also know, two or three years is a lifetime in book  years, so I’ve been doing almost no talking or promotion on that project for a while.

That changes in a few hours, when I’ll spend an hour on Skeptically Speaking with Marie-Claire Shanahan talking Newton, crime, the birth of the modern idea of money, and wherever else the conversation wanders.  The show starts at 8 p.m. EDT, 6 p.m. MDT, and will go up as a podcast next Friday.  Listen here, and or subscribe via iTunes.

It probably isn’t too much of a spoiler to say that it wasn’t the brightest move of even a genuinely clever criminal to try to match wits with my man Izzy. Just sayin….

Image:  William Blake,Isaac Newton1775.


The Uses of the Past: Science/Science Writing Talk

January 17, 2012

I’ve always found that the best way to tackle a complicated story – in science or anything else, for that matter – is to think historically.  But even if I’m right in seeing a historical approach as an essential tool for writers, that’s not obviously true, however well (or not) it may work for me.  Science news is or ought to be new; science itself, some argue, is devoted to the task of relentlessly replacing older, less complete, sometimes simply wrong results with present-tense, more comprehensive, and right (or right-er) findings.

Thinking about this, I put together a panel on the Uses of the Past that was held at last year’s World Conference of Science Journalists in Doha, Qatar.  The panelists – Deborah Blum, Jo Marchant, Reto Schneider and Holly Tucker led a  discussion that was lively and very supportive of the history-is-useful position (not to mention valuable in itself).  But the conversation was far from complete.

So we’re going to do it again, this time at Science Online 2012. (You can follow all the fun by tracking what will be in a few days a tsunami on Twitter, tagged as #scio12).  This is an “unconference,” which means that I and my co-moderator, Eric Michael Johnson, will each present what amounts to a prompt – really a goad – for the audience/participants to run away with.  As Eric and I have discussed this session, one thing has stood out:  where I’ve thought of the term “uses of the past” as a challenge to writers about science for the public, an opening into approaches that will make their work better, Eric has been thinking about the importance of historical thinking to the practice of science itself – what working scientists could gain from deeper engagement not just with the anecdotes of history, but with a historian’s habits of mind.  So just to get everyone’s juices flowing, Eric and I thought we’d try to exchange some views.  Think of this as a bloggy approach to that old form, the epistolary novel, in which we try to think about the ways in which engagement with the past may matter across fields right on the leading edge of the here and now.

So.  Here goes…


Dear Eric,

I have to confess; I’ve never needed convincing about history; I’m a historian’s son, and all my writing, just about, has had a grounding in the search for where ideas and events come from.

But all the same, it’s simply a fact that the professional scientific literature from which so many stories for the public derive seems, on first glance, to be as present-tense as it is possible to be.   As I write this, I’m looking at the table of contents of <a href=””>my latest (January 6) digital issue of <em>Science</em></a>. In the “Reports” section – where current findings are deployed — there is nothing but the now and the near future under discussion.  Just to pull up a few of pieces at whim:  we can learn of the fabrication of wires on the nano-scale that obey Ohm’s law (an accomplishment its makers claim will support advances in both classical and quantum computing to come).  We can read of a new measurement of the ratio of isotopes of tungsten (performed by some of my MIT colleagues in concert with researchers at the University of Colorado) that suggests (at least as a preliminary conclusion) that the terranes that make up the earth’s continents have remained resistant to destruction over most of the earth’s history. And then there is a report from researchers into that living genetics/evolution textbook, <em>C. elegans</em>, that adds yet one more telling detail within a broader understanding of the intertwined behavior of genetic and environmental processes.

All of these – and all the rest of what you can find in this issue of that journal, and so many others – tell you today’s news.  Each of these could form the subject of a perfectly fine popular story.  Yet none of these do or necessarily would as popular stories engage the history that lies behind the results.

That is: you could tell a story of a small step taken towards the goal of building a useful quantum computer without diving into either the nineteenth century’s investigation into the properties of electrical phenomena or the twentieth century’s discovery of the critical role of scale on the nature of physical law.  You can talk about the stability of continents without recognizing the significance of that research in the context of the discovery of the intensely dynamic behavior of the earth’s surface.  You certainly may write about mutation rates and stress without diving into that old fracas, the nature-nurture argument that goes back to Darwin’s day and before.  This is just as true for the researcher as the writer, of course.  Either may choose to ignore the past without impairing their ability to perform the immediate task at hand:  the next measurement, the next story.

You could, that is, but, at least In My Humble Opinion, you shouldn’t.  From the point of view of this science writer, history of science isn’t a luxury or an easy source of ledes; rather, it is essential for both the making of a better (competent) science writer, and in the production of science writing that communicates the fullest, most useful, and most persuasive account of our subject to the broad audiences we seek to engage.

In briefest form, I argue (and teach my students) that diving into the history of the science one cover trains the writer’s nose, her or his ability to discern when a result actually implies a story (two quite different things). It refines a crucial writer’s tool, the reporter’s bullshit detector. At the same time, explicitly embedding historical understanding in the finished text of even the most present-and-future focused story is, I think, more or less invaluable if one’s goal is not simply to inform, but to enlist one’s readers in gerunds of science:  doing it, thinking in the forms of scientific inquiry, gaining a sense of the emotional pleasures of the trade.  I’ll talk more about both of these claims when my turn comes around…but at this point, I think I should stop and let you get a word in edgewise.  Here’s a question for you:  while I can see the uses of the past for writers seeking to extract from science stories that compel a public audience – do working scientists need to care that much about their own archives.  What does someone pounding on <em>C. elegans</em> stress responses, say really need to know about the antecedents of that work?




Dear Tom,

The British novelist, and friend of Aldous Huxley, L.P. Hartley began his 1953 novel <em>The Go-Between</em> with a line that, I suspect, many working scientists can relate to, “The past is a foreign country: they do things differently there.” The process of science, much like the process of art, is to dredge through what has been achieved in the past in order to generate something altogether new. That is perhaps the only thing that the two fields of creative endeavor have in common; the past must be understood only so that you can be released from it. However, much like you, I’ve never needed convincing about history either. While I agree that the past can be a foreign country at times, I’ve always enjoyed traveling.

I came to history through my work in science, but I found that understanding the historical context for why scientists in the past came to the conclusions they did helped inform the questions I was asking. I’ve always believed that the scientific method was the best way of eliminating our own personal biases when seeking answers about the natural world, but that unexamined assumptions can still slip through the scientific filter. By examining how these flawed assumptions made it through I hoped it would help me in my own work. Perhaps the best way to explain what I mean by this is to briefly discuss how an early brush with history encouraged me into the research direction I ultimately pursued in graduate school. The book was <em><a href=””>Nature’s Body</a></em> by the Stanford historian of science Londa Schiebinger that I found in a used bookstore during my senior year as an undergraduate in anthropology and biology. In one chapter of her book she discussed the early history of primate research and how the prevailing assumptions about gender influenced the hypotheses and, as a result, the conclusions about those species most similar to ourselves. One of the earliest descriptions of great apes in the West, after <a href=”″>Andrew Battell’s exaggerated stories about “ape monsters,”</a> was by the Dutch physician Nicolaes Tulp, probably the most widely recognized figure in the history of science that almost no one has ever heard of.

In 1632 Tulp commissioned the artist Rembrandt to paint his anatomy lesson, which ended up being one of the Dutch master’s most famous works (if anyone today recognizes Tulp’s name, it’s most likely from the title of this painting). Nearly a decade after he posed for this portrait Tulp published his Observationes Medicae (Medical Observations) in which he described the anatomy of a female ape he’d received on a ship bound from Angola. He was immediately struck by the similarities with humans and the drawing he published, identified as Homo sylvestris, demonstrated a striking example of cultural bias. Made to look the way he assumed this female would appear while alive, Tulp emphasized his own culture’s gender stereotypes. The female sat with her hands in her lap, framing what appeared to be a pregnant belly, and her head was glancing downwards in a distinctly demure pose.

By itself this depiction wouldn’t have been particularly revealing; it was just one individual allowing their own social biases to influence his science. What was remarkable, however, is the way Schiebinger showed how Tulp’s depiction would appear time and time again in the subsequent centuries when describing female primates, not just in appearance but also in behavior. More than two hundred years later, when Darwin described the differences between males and females in his theory of sexual selection, he had the same unmistakable gender bias that influenced his thinking. I had never taken a women’s studies course in my life, but this insight was an enormous wake up call for me. I realized there had been a common set of assumptions that endured for centuries, what the historian Arthur Lovejoy called “the spirit of the age,” and had gone unexamined until relatively recently when a new generation of primatologists–such as Jane Goodall, Sarah Blaffer Hrdy, and Frans de Waal–began studying the female half of the equation that had been largely ignored as an important area of study. Knowing this history pushed me to ask different questions and focus on a topic that I discovered hadn’t been addressed before: why female bonobos had such high levels of cooperation despite the fact that they had a low coefficient of genetic relatedness (violating the central premise of <a href=””>Hamilton’s theory of kin selection</a>). Different scientific topics have their own entrenched assumptions that otherwise critical researchers may not have considered; that is, until they see the broad patterns that a historical analysis can reveal.




Dear Eric,

I love your story, partly because the original painting is so extraordinary and it’s good to have any excuse to revisit it.  But I value it more for your argument that engaging with the thought and thinking (not quite the same thing) of scientists past fosters insight into present problems.  That goes just as much for science writers – that is to say, those seeking to communicate to a broad public both knowledge derived from science and the approaches, the habits of thought that generate those results.

Rembrandt’s painting itself gives some hints along this line.  There’s a marvelous and strange discussion of the work in another novel written in English, W. G. Sebald’s <em><a href=”″>The Rings of Saturn</a></em>.  There, Sebald points to the fact that none of the anatomists are actually looking at the corpse under the knife. Tulp himself stares out into the middle distance, whilst other members of his guild peer instead at an anatomical atlas open at the foot of the table. As Sebald studies the one of the often-discussed details of the painting, he argues that what appears to be simply an error in the depiction of the <a href=”″>dissection of the left</a> hand reveals an artist seeking to see past the formal abstraction of the lesson, drawing attention instead to the actual body on the table, the physical reality of a single dead man.

Not wishing to push too hard on that (unproven, unprovable) interpretation, Sebald still points out something that rewards the attention of science writers.  Rembrandt depicts both facts — the body, the tendons of the exposed hand – and ideas, at a crucial moment of change in the way natural philosophers sought verifiable knowledge.

We see, amidst the reverence for the book, the authority of prior learning, an event actually occurring on the canvas:  the effort to extract understanding from the direct testimony of nature. Amidst all else that can be read there, Rembrandt’s painting reminds the viewer of the time – not really all that long ago – when a fundamental idea was being framed with its first answer:  yes, it is possible to understand biological forms as machines, and to investigate their workings directly.

So, to take the long road home to the question of why bother with history when covering the news of today and tomorrow, here are two thoughts (of the three with which I will hope to provoke our fellow unconferees on Thursday).  First: as you argue for scientists, understanding of the past can lead writers to stories they may not have known were there.

To give an example, I’ll have to leave anatomy behind (about whose history I sadly know very little). I recently had an occasionto look back at <a href=””>A. A. Michelson’s infamous remark</a> from 1894 when he asserted that physics was done except for that which could be discovered in the sixth decimal places of measurements.

There is a lot wrong in that claim, but if you look more closely at what he said, you can find something less obvious in Michelson’s claim – and that can lead to insight into what goes into the making of all kinds of very modern physics, from (possibly true) observations of faster than light neutrinos to the ways in which cosmologists are extracting knowledge from high-precision measurements of the cosmic microwave background (and much else besides, of course).

So there’s a story-engine chugging away inside history, which is there to be harnessed by any writer – facts, material, from which to craft story.  There’s also a story-telling tool, a method that derives directly from historical understanding.  A core task for science writing is the transformation of technically complicated material into a narrative available to broad audiences – which must be done without doing violence to the underlying ideas.  If the writer remembers that every modern problem has a long past, then she or he can prospect through that history when the problems and results in that sequence are intelligible to any audience.  For just one last, very quick example:  general relativity is a hard concept to explain, but framing the issue that it helped to resolve in the context of what Newton’s (seemingly) simpler account of gravity couldn’t handle – that spooky action at a distance that permits the gravitational attraction of the sun to shape the earth’s orbit – and you’re in with a chance.




Dear Tom,

I think you touched on something very important with regard to the idea that science writing is a transformation that takes the technical language of science (primarily mathematics and statistics–that is, if it’s done correctly) and interprets it into the communication of everyday experience. Science writing is a process of translation. The history of science as a discipline is precisely the same thing, though historians typically engage in a different level of linguistic analysis by looking at language meaning and the way that science provides insight into the process of historical change. But it seems that there is no better way to think about how the history of science can be useful to science journalists than to consider what we do as essentially a process of translation. Art is involved in any translation work and there is never a one-to-one correspondence between the original and what it eventually becomes. We must be true to our source material but also evoke the same overall meaning. To put this more simply: why are the findings being reported important to scientists in a given field and how can that same importance be conveyed to a readership with a very different set of experiences? It seems to me that there are two primary ways of doing this: engaging with the history of <em>why</em> this question matters or tapping into contemporary <em>attitudes</em> that evoke connections with the findings reported (where the latter approach <a href=””>goes wrong</a> happens to be one of my <a href=””>favorite</a&gt; topics of critique, one that is <a href=””>unfortunately</a&gt; an extremely rich resource to draw from).

However, there is one other reason why the history of science is important for science journalists that we haven’t quite touched on yet. A journalist who knows their history is better protected from false claims and the distraction of denialism. The scientific press release is a unique cultural invention and all too often seeks to manipulate journalists into framing a given story so as to exaggerate that study’s actual impact. The historically minded journalist is less likely to get bamboozled. In a similar way, the <em>he said-she said</em> model of reporting is a persistent and irritating rash for almost every professional journalist I’ve interacted with. But the temptation to scratch is always present, even though the false equivalency reported is rarely satisfying over the long term. The history of science can be the journalistic topical ointment. Those who know the background of anti-vaccine paranoia, or who recognize the wedge strategy of creationist rhetoric, can satisfy their need to report on a story that captures the public’s attention while also providing useful information to place that issue within it’s proper context. History matters.

Your friend,


Eric Michael Johnson
Department of History
University of British Columbia

Images:  Johannes Vermeer, Lady Writing a Letterbetw. 1665 and 1666.

Hans Holbein the Younger, The Ambassadors, 1533.

Nicholaes Tulp,  “Homo sylvestris” Observationes Medicae, Book III, 56th Observation, 1641

Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632

Self Aggrandizement Alert: Newton and the Counterfeiter’s UK Paperback is out, Critics Don’t Quail in Horror

July 29, 2010

Just got my box of paperbacks from Faber, and I have to say, I love the cover — best of the four versions to date:

The book has been well received, especially in the British press — the Sunday Times was pleased enough with it to name it on its best-books-of-the-year list, as did the Library Journal and New York magazine over here.

And now it can be bought in Britain again (Faber had a bit of an inventory control problem with the hardcover, which has been unavailable for some months.  Heck, at least I can say I sold out the British Isles…;)

And a few folks have been kind enough to re-notice the work. Via Faber’s eternally vigilant publicity folks, I learn of these props:

‘Entertaining … Levenson has a good eye for the colourful details that bring 17th-century London to life in all its grimy glory: Newton and the Counterfeiter weaves together the history of the money and a biography of one of our greatest scientists in a readable romp.’ Observer

‘Wonderful book.’ Sunday Times

Should any of this move  you to more curiosity, you can check out the work at your local bookstore, (I hope), or online at the usual suspects:  AmazonPowellsBarnes and NobleIndiebound and  across the pond at, Books Etc., and John Smith & Son — not to mention electronically Amazon’s Kindle store, the Barnes and Noble store (Not sure if it’s available yet at Apple’s ibook store, but I’ll check and update.)

Self promotion (at least thus nakedly) now at an end.  As you were.

For Good Times in Marietta, Ohio and Ann Arbor Michigan.

March 23, 2010

The Newtonpalooza rolls on.

If tonight (Tuesday, March 23)  you happen to be in the vicinity of Marietta College (in Marietta, Ohio), I’ll be giving the Krause Lecture at 7:30 in the Alma McDonough Auditorium on campus (number 7 on the campus map).  The subject — Isaac Newton, and what his not-so-secret history as a cop tells you about the man and the scientific revolution as it was lived on the spot.

And if you happen to be in the neighborhood of the University of Michigan tomorrow, Wed. 24 March, I’ll be talking to the Physics Colloquium on much the same subject at four p.m in room 340 in West Hall.  (Campus building search utility here.)

Come one, come all.

Image:  John Leech, from: The Comic History of Rome by Gilbert Abbott A Beckett: “Cicero denouncing Cataline” c. 1850

On Memory, Memoir, and Rebecca Skloot’s journey with and to Henrietta Lacks

February 9, 2010

It’s harder than I thought it would be to weigh in with a blog-review of Rebecca Skloot’s new book, The Immortal Life of Henrietta Lacks.

It’s not that I don’t like the book – it’s wonderful, and I highly recommend you all go read it.

It’s not that I don’t have some thoughts about the work.  It offers plenty of grist for engagement, from its compelling story to some formal considerations in the writing, to the practical lesson Rebecca is giving us all on what it takes to promote a book in this late-stage of the traditional approaches to publishing.

It’s not that there isn’t a wealth of material to talk about.  Rebecca has written a compelling story, a genuine page turner, populated with characters – people – whom you come to care about deeply, that is at the same time an important inquiry into issues of race, class, personal autonomy and the claims of authority in America.

It’s just that all of this has been said already.  I agree with the assessments of the host of reviewers and bloggers who have already weighed in on the book:  it’s a great achievement, it’s a compelling read, and it is at once emotionally moving and intellectually demanding, which is my idea of a fine, fine book.

So what to add?

Well, I’ve got one thing to say more from my perspective as a writer who also teaches writing than as a straight reviewer/critic.  At least one of Rebecca’s choices of technique in this book was hard won, complicated, and very  important to the ultimate power of the work.

That is:  a number of people have noted what they see as the use of some of the story telling tools from fiction in the tale – and that’s certainly fair.  Her telling of scenes from the story of Henrietta Lacks herself with a novel’s third person, seemingly omniscient narrator is a case in point.

But to me the dominant source-genre for the book is not fiction but that very tricky approach to non-fiction that falls under the umbrella of memoir.

I heard Rebecca tell Terri Gross on NPR’s Fresh Air that she resisted inserting herself into the story until it became inevitable, until her odyssey with the Lacks family became so intimately intertwined with what she thought her formal narrative to be that she had to emerge as a character in her own book.

That decision shapes the entire work, much for the better I think.  We enter the tale with her 16 year old self, a not-entirely successful high school student, catching a stray remark in a biology class about an important line of cells, and their source, Henrietta Lacks, of whom the instructor said, as an aside, “she was a black woman.”

With that we’re off, and we are able to understand the entire work that follows as a journey undertaken by a maturing Rebecca to come to grips with that sudden, strange, and almost comically opaque revelation.

That journey is not undertaken by an omniscient narrator, for all that the device shows up here and there; we don’t have a Virgil on this sometimes infernal journey.

Rather, we have Rebecca herself, a changing person and voice, someone with accumulating, always incomplete knowledge.  Most important for the power of the book, Rebecca is implicated in the tale:  each discovery she makes has both an explanatory signficance and an emotional one, for her. And hence for us, once we’ve invested our concern in the teller of the tale.

By the way, in this I don’t mean that Rebecca comes to dominate the story.  Henrietta herself, and even more, Henrietta’s daughter, Deborah, are the emotional centers of the story. But that’s how memoirs work.  They are not simply, or even mostly (in the best ones) about the author; rather, they provide a bridge through the author to sympathy with the people and experiences encountered on a life’s journey.  A keen memoirist uses what she or he knows to be a subjective view to create a connection between the reader and both what and the way she or he sees the world.

That’s what makes the most controversial scene in Rebecca’s book so valuable, narratively.  At one point, in the midst of Henrietta’s family, Rebecca experiences a kind of exorcism.  She’s a rationalist, a science writer, for heaven’s sake.  And yet this experience is real, felt and…as written, present for the reader.

All of which is to say, that memoir isn’t just a “what I did today” account of a life:  it is a conscious and complicated narrative stance, which, when wielded by a writer of skill and sensitivity constructs a world fo feeling out of an account of fact – or what seemed like fact as lived.  Doing it well is really hard – and having done so is one reason that Rebecca produced a book that works so well.

Image: Ary Scheffer, “Dante and Virgil encounter the ghosts of Paulo and Francesca” 1854.

We Pause for this Commercial Interruption: Newton and the Counterfeiter/Kindle redux edition

December 28, 2009

Well, that was an annoying ride.

I mean the seemingly endless saga of achieving the possibilty of Kindle/ebook sales for my poor but honest offering, Newton and the Counterfeiter. (Dead tree versions here:  AmazonPowellsBarnes and NobleIndiebound and  across the pond at, and John Smith & Son.)

Loyal readers may recall that it took more than six or seven weeks between delivering the file to Amazon (a bit late, but not that late, in the context of the hard cover pub. date).  Amazon is, apparently, notoriously slow and creaky around at least some of its interactions with publishers.  (I do know that it took a very long time to get this book-promo video up on the US site…and that the interaction between my British publisher Faber & Faber and Amazon UK went much more smoothly than the Houghton Mifflin Harcourt/ pairing did.)

But then came an email from old friend and former MIT colleague (not to mention tech/net education guru, Phillip Long, who complained that he could not get a Kindle edition of the book until next April, coinciding with the paperback release.

Apparently Amazon got its algorithm in a twist once HMH uploaded data about the upcoming new edition of an existing title.

Somehow — and I truly don’t understand how this could have happened, because it’s not exactly a new phenomenon in publishing to have a soft cover version follow a hard cover one into the wide world — my poor little book, highly praised though it may be, had to be denied the chance to take part in the day Kindle sales beat dead tree versions on the Amazon site.

Not for lack of effort on the part of HMH’s team, I must say.  I notified my peeps over there as soon as Phil let me know of the glitch, and they’ve been working on it for at least three weeks.  And today, I’m happy to say, HMH electronic stalwart Sanj Kharbanda was able to report success.  Now, at last, you can get your Kindle edition of Newton and the Counterfeiter.

So: all of you gifted (that unlovely neologism) with Kindles (or the Kindle app on your iPhone, and soon, on your Blackberry!) in recent memory may now load up your new gizmo with your own personal copy of that thrilling true crime tale that both tracks Newton as he tracks the dapper don of his day — and that tells a tale of how the scientific revolution got mixed up with the financial one — to our continuing gain and sorrow.  Seriously, it’s a great read, I’ve been told, and if you want to test that claim electronically, by all means, be my guest.  (Not for a a moment to disparage dead tree versions of course, for those (like me) that still love that sense of time measured in turning leaves.)

There.  I think I’ve shilled enough for one day.

Image:  Rembrandt van Rijn, “Two Old Men Disputing,” 1628.