In Laboratory Epistemologies: A Hands-On Perspective, Jenny Boulboullé examines the significance of hands-on experiences in contemporary life sciences laboratories. Addressing the relationship between contemplation and manipulation in epistemology, Boulboullé combines participant observations in molecular genetics labs and microbiological cleanrooms with a longue durée study of the history and philosophy of science. She radically rereads Descartes’s key epistemological text Meditations on First Philosophy, reframing the philosopher as a hands-on knowledge maker. With this reading, Boulboullé subverts the pervasive modern conception of the disembodied knower and puts the hands-on experimenter at the heart of life sciences research. In so doing, she contributes a theoretical model for understanding how life processes on cellular and molecular levels are manually produced in today’s techno-scientific spaces. By reassessing the Cartesian legacy and arguing that epistemology should be grounded in the standpoint of a hands-on practitioner, Boulboullé offers the philosophical and historical foundation to understand and study contemporary life sciences research as multisensory embodied practices.

Endings are not just singular moments in time but the outcomes of a process. And whatever a book’s conclusion, its form has a history. Literary Conclusions presents a new theory of textual endings in eighteenth-century literature and thought. Analyzing essential works by Gotthold Ephraim Lessing, Johann Wolfgang von Goethe, and Heinrich von Kleist, Oliver Simons shows how the emergence of new kinds of literary endings around 1800 is inextricably linked to the history of philosophical and scientific concepts.

Simons examines the interrelations of Lessing’s literary endings with modes of logical conclusion; he highlights how Goethe’s narrative closures are forestalled by an uncontrollable vital force that was discussed in the sciences of the time; and he reveals that Kleist conceived of literary genres themselves as forms of reasoning. Kleist’s endings, Simons demonstrates, mark the beginning of modernism. Through close readings of these authors and supplemental analyses of works by Walter Benjamin, Friedrich Hölderlin, and Georg Wilhelm Friedrich Hegel, he crafts an elegant theory of conclusions that revises established histories of literary genres and forms.

In Living On After Failure, Irving Goh dwells with failure and all of its negative affects. Goh does not seek a theorization of failure as something to overcome or turn into a recuperative philosophy or progress narrative. Rather, he engages with the ontological condition of failure as a process of staying with the impasse that failure brings. Drawing on the thought of Berlant, Derrida, Foucault, and Nancy, Goh examines works by contemporary writers like Ottessa Moshfegh, Rachel Cusk, Édouard Levé, Yiyun Li, and Kate Zambreno. He guides readers through stages of reckoning with failure as an immersive impasse: flopping, drifting itself, a dark care of the self, melodrama, and postscripting. By unsettling the failure/success binary, Goh provides those who cannot shake off their sense of failure, or who refuse the narratives of progress or success and their ideologies of grit and resilience, with discursive and affective spaces in which to attend to their desire to be attached to their failures.