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     In Fiction Rivals Science, Allen Thiher describes the epistemic rivalry that the major nineteenth-century French novelists felt in dealing with science. After brief considerations of Stendhal, Thiher focuses on the four most important "realist" novelists in France: Balzac, Flaubert, Zola, and, going into the twentieth century, Proust. According to Thiher, each of these novelists considered himself to be in competition with science to make the novel an instrument for knowledge.

The first chapter sets forth the understanding of science that dominated the early nineteenth century in order to make it plausible that literary minds, throughout the nineteenth century, thought that they could not only rival science, but even make positive contributions to knowledge. The Newtonian paradigm that had dominated the Enlightenment was slowly being challenged by new developments both in physics and in nonphysical sciences such as biology. Especially in biology the development of a scientific discourse using narrative temporality favored the idea that novelists could also use fiction to construct discourses that advanced knowledge.

Balzac wanted to construct a natural history of society and correct the chemical theory of his time. Flaubert drew upon medicine and physiology for the rhetoric of his realist fiction. Zola used unsuccessful medical paradigms for his doctrine of heredity, and models drawn from thermodynamics to describe the relation of the individual to societal forces. Finally, Proust drew upon thinkers such as Poincar‚ to elaborate an epistemology that put an end to the rivalry novelists might feel with scientists. Proust located certain knowledge within the realm of human subjectivity while granting the power of laws to rule over the contingent realm of physical reality, in which, after Poincar‚, neither mathematics nor Newton was any longer a source of absolute certainty. Proust's novel is thus the last great realist work of the nineteenth century and the first modernist work of consciousness taking itself as the object of knowledge.

By demonstrating that the great French realist novelists dealt with many of the same problems as did the scientists of the nineteenth century, Fiction Rivals Science attempts to show how culture unites literary and scientific inquiry into knowledge. Providing a new interpretation of the development of literary realism, this important new work will be welcomed not only by literary scholars, but by historians of science and culture as well.

In today’s academe, the fields of science and literature are considered unconnected, one relying on raw data and fact, the other focusing on fiction. During the period between the Renaissance and the Enlightenment, however, the two fields were not so distinct. Just as the natural philosophers of the era were discovering in and adopting from literature new strategies and techniques for their discourse, so too were poets and storytellers finding inspiration in natural philosophy, particularly in astronomy.

           

A work that speaks to the history of science and literary studies, Fictions of the Cosmos explores the evolving relationship that ensued between fiction and astronomical authority. By examining writings of Kepler, Godwin, Hooke, Cyrano, Cavendish, Fontenelle, and others, Frédérique Aït-Touati shows that it was through the telling of stories—such as through accounts of celestial journeys—that the Copernican hypothesis, for example, found an ontological weight that its geometric models did not provide. Aït-Touati draws from both cosmological treatises and fictions of travel and knowledge, as well as personal correspondences, drawings, and instruments, to emphasize the multiple borrowings between scientific and literary discourses. This volume sheds new light on the practices of scientific invention, experimentation, and hypothesis formation by situating them according to their fictional or factual tendencies.

 

In The Forgotten Tribe: Scientists as Writers, Lisa Emerson offers an important corrective to the view that scientists are "poor writers, unnecessarily opaque, not interested in writing, and in need of remediation." She argues that scientists are among "the most sophisticated and flexible writers in the academy, often writing for a wider range of audiences (their immediate disciplinary peers, peers in adjacent fields, a broad scientific audience, industry, and a range of public audiences including social media) than most other faculty." Moreover, she notes, the often collaborative and multidisciplinary nature of their work results in writing practices that "may be more socially complex, and require more articulation, mediation, and interpersonal communication, and more use of advanced media and technology than those of faculty in other disciplines."

Drawing on extensive interviews with scientists, Emerson argues that writing scholars have "engaged in a form of cultural appropriation" that has worked against a deeper understanding of the contexts in which scientists work and the considerations they bring to their writing. Emerson grounds her analysis in the voices of scientists in a way that allows us to understand not only how they approach writing but also how we might usefully teach writing in the sciences. The Forgotten Tribe offers a valuable contribution to our understanding of scientific writing, allowing us to hear voices that are seldom included in our discussions of this critical area.