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This cultural turn from metaphysics to metafictions helps to explain why so many readers, young and older, have greeted Philip Pullman’s La Belle Sauvage as if it were the Second Coming. A forthright atheist, Pullman has made the secular balm of stories one of his principal themes, finding in them the “capacity to enchant, to excite, to move, to inspire”. This holds true for “science stories” as well, assuaging our fear that science repudiates wonder for analysis, prescriptive morals for descriptive accuracy. Pullman insists that scientific narratives can be as marvellous as fairy tales, and as ethical as a chivalric quest. The key is that “we have to behave honestly towards them and to the process of doing science in the first place”.
