This book formulates a relativistic theory of biology, challenging the common gene-centred view of organisms.

What is Life? Decades of research have resulted in the full mapping of the human genome - three billion pairs of code whose functions are only now being understood. The gene's eye view of life, advocated by evolutionary biology, sees living bodies as mere vehicles for the replication of the genetic codes. But for a physiologist, working with the living organism, the view is a very different one. Denis Noble is a world renowned physiologist, and sets out an alternative view to the question - one that becomes deeply significant in terms of the living, breathing organism. The genome is not life itself. Noble argues that far from genes building organisms, they should be seen as prisoners of the organism. The view of life presented in this little, modern, post-genome project reflection on the nature of life, is that of the systems biologist: to understand what life is, we must view it at a variety of different levels, all interacting with each other in a complex web. It is that emergent web, full of feedback between levels, from the gene to the wider environment, that is life. It is a kind of music. Including stories from Noble's own research experience, his work on the heartbeat, musical metaphors, and elements of linguistics and Chinese culture, this very personal and at times deeply lyrical book sets out the systems biology view of life.

Money’s tight and Henry is lucky to have the job at Mr. Hairston’s grocery store. His parents are both lost in despair following the death of Henry’s older brother, and Henry is glad for the opportunity to feel like he’s helping. Saving to buy a marker for Eddie’s grave, Henry tries to ignore Mr. Hairston’s commentary about the customers. But Henry is shocked when he is told he’s being laid off. That is, unless he agrees to do one thing, one terrible thing.

This is a detailed history of one of the most important and dramatic episodes in modern science, recounted from the novel vantage point of the dawn of the information age and its impact on representations of nature, heredity, and society. Drawing on archives, published sources, and interviews, the author situates work on the genetic code (1953-70) within the history of life science, the rise of communication technosciences (cybernetics, information theory, and computers), the intersection of molecular biology with cryptanalysis and linguistics, and the social history of postwar Europe and the United States. Kay draws out the historical specificity in the process by which the central biological problem of DNA-based protein synthesis came to be metaphorically represented as an information code and a writing technology—and consequently as a “book of life.” This molecular writing and reading is part of the cultural production of the Nuclear Age, its power amplified by the centuries-old theistic resonance of the “book of life” metaphor. Yet, as the author points out, these are just metaphors: analogies, not ontologies. Necessary and productive as they have been, they have their epistemological limitations. Deploying analyses of language, cryptology, and information theory, the author persuasively argues that, technically speaking, the genetic code is not a code, DNA is not a language, and the genome is not an information system (objections voiced by experts as early as the 1950s). Thus her historical reconstruction and analyses also serve as a critique of the new genomic biopower. Genomic textuality has become a fact of life, a metaphor literalized, she claims, as human genome projects promise new levels of control over life through the meta-level of information: control of the word (the DNA sequences) and its editing and rewriting. But the author shows how the humbling limits of these scriptural metaphors also pose a challenge to the textual and material mastery of the genomic “book of life.”

Contains primary source material.

This heartwarming picture book reassures children that a parent’s love never lets go—based on the poignant lyrics of JJ Heller’s beloved lullaby “Hand to Hold.” “May the living light inside you be the compass as you go / May you always know you have my hand to hold.” With delightful illustrations and an engaging rhyme scheme, this book offers the promise of security and love every child’s heart longs to know. From skipping stones and counting stars to climbing trees and telling stories, every moment is wrapped snugly in the certain warmth of a parent’s presence and God’s blessing. With poignancy and joy, this bedtime read captures the unconditional love parents want their children to know but so often fail to express amid the chaos of daily life.

The last century has seen radical social changes in Ireland, which have impacted all aspects of local life but none more so than traditional Irish music, an increasingly important identity marker both in Ireland and abroad. The author focuses on a small village in County Clare, which became a kind of pilgrimage site for those interested in experiencing traditional music. He begins by tracing its historical development from the days prior to the influx of visitors, through a period called "the Revival," in which traditional Irish music was revitalized and transformed, to the modern period, which is dominated by tourism. A large number of incomers, locally known as "blow-ins," have moved to the area, and the traditional Irish music is now largely performed and passed on by them. This fine-grained ethnographic study explores the commercialization of music and culture, the touristic consolidation and consumption of "place," and offers a critique of the trope of "authenticity," all in a setting of dramatic social change in which the movement of people is constant.