Author Ian McEwan recently visited ASU for a lecture in partnership with the ASU Origins Project and the Center for Science and the Imagination. At this co-sponsored event, Ian McEwan, author of Atonement and Sweet Tooth and winner of the Man Booker Prize, and Lawrence Krauss, cosmologist and theoretical physicist at ASU, discussed doubt and skepticism in relationship to writing, as well as the interplay between science and literature.
The first question posed to McEwan and Krauss contained the overarching theme of the discussion: what is doubt and skepticism and how is it approached in writing both fiction and nonfiction?
McEwan began by defining doubt as “someone hesitating before a problem or outcome…pausing before a moral choice.” He explained that the novel is a secular form which is invested in individuals and is at the heart of doubt and skepticism. Using Hamlet as the quintessential example of a self-examining and moralizing character embodied by doubt, McEwan described literature as reflective of the relation between consciousness and doubt in examining human actions and motives.
In reply, Krauss examined uncertainty in nonfiction, the scientific version of doubt. According to Krauss, uncertainty quantifies science because it imparts a worth on scientific discovery and establishes a value of correctness or probability. Although uncertainty is valuable to science, Krauss discussed how in writing scientific articles, his copy editor eliminates uncertainty and ambiguity even though “there is no absolute truth in science…it’s either very very very likely or very very very unlikely or in between.” While uncertainty is crucial to scientific discovery, he explained that the human condition does not allow for doubt in something we like to accept as pure fact and truth.
In discussing the place of the scientific account in the narrative spectrum, McEwan commented that “science invades the territory of land held by the novel.” He explained that as science progresses, it seeks to quantify how we as humans make our choices. Understanding human action, as defined by science, forces the novel into a position of doubt as it must change its set of approaches in human emotional analysis. The novel, McEwan argued, is in a position of vague threat due to the increasing advancements of science because “if [science] changes the novel, it will change everyday lives.”
The moderator asked both lecturers to discuss how each conveys skepticism and doubt in a narrative. McEwan characterized his approach as a bottom-up–not a top-down–matter. In paraphrasing a 1953 lecture by Nabokov, McEwan said that one’s job as an author is to find the details; what a novelist has to do is build a world where skepticism is possible.
In contrast, Krauss’s approach to skepticism in nonfiction is a top-down approach, which to him is the best tool a scientist can use. For Krauss, skepticism is best utilized by conveying shock to the reader because “the easiest person to fool is yourself.” By getting someone to make the discovery that what they believe is wrong, it opens up the possibility that everything else could be wrong and leads to a questioning everything. Krauss argued that it is vitally important for a scientist to be brutally honest as “little accidents can have a profound impact.”
In their examination of doubt and skepticism, McEwan and Krauss spent a substantial amount of time examining the vitality of the novel and writing. Writing doubt takes different forms in each genre, and as science alters humans’ understanding, fiction writing will alter as well in a continued attempt to clarify the human condition. This intimate discussion between two prominent masters of their field stirred a thought-provoking lecture in the exploration of how these two fields affect and alter one another.