Explainer
Biology
Culture
Ethics
8 min read

Inheritance and environment's impact on ethics

Once discounted insights are now found important and have ethical consequences. Andrew Davison concludes his series on biology’s current developments.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A wall tile shows a 1940s woman tend a stove below a washing line.
A commemorative tile honours Dutch woman who made 'something out of nothing. during the hunger winter.
Peter de Wit (FaceMePLS), CC BY 2.0, via Wikimedia Commons

There’s no more exciting work in biology at the moment than thinking about organisms in terms of their environment. That’s a crucial part of the lively current scene in evolutionary thought (which I described in my previous article), and part of how a new generation of fascinating writers is urging us to throw off the overly narrow perspectives of the twentieth century. It’s not that Darwin’s fundamental insights were wrong, just that some of his followers took them to rule out, or discount, features of biology that turn out to be real and important.  

In fact, Darwin was often ahead of the game here. He was more interested in cooperation between species, for instance, than many writers who went on to champion his ideas. He wrote brilliantly about the relationship between moths and orchids, for instance, and between plants and earthworms. Similarly, as Jessica Riskin has recently pointed out, he never dropped the idea that what organisms do during their lifetime affects what they pass on to their offspring (what he called ‘use and disuse’). For much of the twentieth century, that idea, of passing on of acquired characteristics, was biological heresy, but today it’s making a comeback. 

The excitement in contemporary evolutionary biology can usefully be gathered under two headings. Alongside ‘organism and environment’, there’s also ‘extended heredity’, although the two are closely related on some points. They’re both important as part of the sort of discussion presented on this site – run in conjunction with the Church of England, of all things – not just because it’s good for religious institutions to demonstrate enthusiasm for science, but also because they’re full of ethical consequences.  

 Passing on to the progeny 

Take ‘extended inheritance’: extended, in the sense that there’s so much more that’s inherited from parent to child than just a DNA sequence. For one thing, every organism bequeaths a world to its progeny, which means a world that’s at least somewhat adapted: at least a little (as with some bacteria, although others are adept at ‘ecosystem engineering’) or massively, as when a beaver completely changes its surroundings by building a dam, or when human beings cover the Earth with marvellous and terrible things. The transformed landscape of the beaver and the human being, even of the bacterium, is part and parcel of what they each pass on to their progeny, and therefore part of biological inheritance. That really puts the environment back at the centre of our thinking about organisms and evolution. 

Taking a wider view than genes-are-all-you-pass-on has no lack of consequences. In their accessible and endlessly fascinating 2018 book Extended Heredity, Russell Bonduriansky and Troy Day show that narrow-mindedness on that front has had terrible consequences. They see it behind the Thalidomide birth defect tragedy, for instance, and the strange unwillingness of medics, in the middle of the twentieth century, to take the dangers of foetal alcohol syndrome seriously. If it’s a matter of scientific dogma that all that matters is what genes parents give to their offspring, other factors – like bothering to monitor what effects alcohol have on pregnant women and developing child, or the effects on them of a new medicine – don’t look as important as they should.  

Genes aren’t everything, especially in the developmental phase (from conception through childhood and adolescence). Throughout that period, in particular, genes and environment dance an intimate tango, with genes turning on and off in response to its experience of its environment, before and after birth. Moreover, recent science shows that what happens to you during your lifetime can even be passed onto your offspring, and even to their children after them.  

That flies in the face of the idea that all you have to pass on is the genetic hand of cards you were delt at conception (or its equivalent, for instance for a plant). On that hallowed view, the most that life has to offer from that moment on is testing your ‘fitness’, to see whether you manage to pass those genes on, or not, or how abundantly. But that’s far too limited a picture. We don’t just pass on genes; we also pass on the pattern of how genes are tagged to be turned on or off, and that is changed by the conditions the organism has experienced.  

 Hunger lessons 

The most striking, but gruesome, example involving human beings is the ‘Dutch Hunger Winter’ of 1944­–45, when occupying German forces starved the Dutch population in retaliation for resistance victories. Children conceived during that period grew up with poor metabolism (or, to be more accurate, metabolism that would be good at surviving starvation, but was not well-adapted to healthier post-war life nutrition, which is fascinating in itself). So much for genes being everything. More startling still was the observation that their children also had poor metabolism: the grandchildren of the starved pregnant women. We can pass on acquired characteristics, which really puts the cat among the twentieth century Darwinian pigeons. As the prophet Ezekiel put it, ‘The parents have eaten sour grapes, and the children’s teeth are set on edge’. This is full of ethical freight. The way we treat other people, and ourselves, affects those who come after us: yes, socially and culturally, which is significant enough, but even in how their bodies are programmed to develop. 

A stimulating environment 

There’s a similar ethical charge to what is perhaps my favourite part of the newly boisterous world of biology: phenotypic plasticity. That’s the simple idea that the same genes (the ‘genotype’) will produce a differently structured organism (the ‘phenotype’) in response to different environments. In one sense, it’s obvious enough. If I go to the gym for a year – a particular kind of environment – I’ll look different afterwards than if I’d spend an equivalent length of time on the sofa.  

But it goes much further than that. Various plants will produce different sorts of leaves, for instance, depending on whether they grow in more or less shady situations. Sometimes, one species can be mistaken for two, as happened with fish, called cichlids, in Lake Tanganyika (between Tanzania and the Democratic Republic of Congo). What scientists had thought to be separate species, because their jaws are so different, turned out to be the same species. If a fish grows up at the bottom of the lake, it develops one mouth shape, with large, strong jaws, for munching shellfish; if a it with the same genes grows up at the top of the lake, it develops delicate jaws, useful for eating other kinds of food.  

Again, the repercussions of ethics are enormous, and that brings us back to the ugly subject of eugenics, mentioned in the first of these articles. At root, eugenics is based on the assumption that some people just are healthy, and others just are sick, because some have ‘good genes’, while others have ‘bad genes’. You are either blessed with the former, or doomed with the later, and that’s set in stone, from conception. It’s then (supposedly) the ‘right thing’ to promote the former when it comes to reproduction and, at its most horrific, to restrain, sterilise, or even slaughter the latter. Eugenics cast its shadow over more of the twentieth century than we might like to admit. At one time or another, it was the darling of both the political right and the political left. It hasn’t gone away. 

Before we say anything else, there’s a moral flaw in thinking that concern for the gene pool trumps concern for suffering individuals. More than that, though, the biology shows eugenics to be flawed even on its own, supposedly scientific, terms. We aren’t just blessed or doomed by the genetic hand of cards we’re delt at conception. Like those plants, growing in sunlight or shade, what our genes will mean is also determined by our setting. Like those African fish, our genes can run more than one programme, so the environment matters.  

Eugenics presents the all-to-convenient picture that the sick will be sick, the weak will be weak, and that’s that. But we’re not just doomed or blessed by genes. It matters, for instance, what sort of housing we have, how we’re fed, and whether we have access to fresh air and places for exercise, and to stimulus for the mind, and companionship. Putting people into groups (healthy and sick, or worthy and unworthy), then writing off one of those groups might be politically and economically convenient, but it’s bad science, as well as bad morals. 

Reason to be curious 

I started this series by mentioning how important the theology and philosophy of the Middle Ages has been for me, in working between theology and science. In one of his little read works, Thomas Aquinas (1224–1274) defended having the expansive curriculum used in training Dominican friars like himself. (It helped that this curriculum was being drawn up, in part, by Albert the Great – perhaps the greatest polymath of his century, and later patron saint of scientists.) One should be open to knowing about everything, Aquinas argued, because you never know what will come in useful later on. We have an excellent, and timely example of that, in how something as obscure as phenotypic plasticity bears on eugenics, and the eminently practical question of proper housing. 

Recently, in fact, the Church of England has been working hard on housing. The Bishop of Chelmsford, Guli Francis-Dehqani, has the new housing brief among the bishops. The church’s council for Mission and Public Affairs has also been busy, not least with the publication of Coming Home: Christian Perspectives on Housing in 2020. What might have seemed like rather abstract wranglings among biologists, over where to put the emphasis in their theories about nature, turns out to show how right it is to be passionate about good housing (and, it turns out, about keeping abreast of biology). 

  

Suggested Further Reading 

Brown, Malcolm, and Graham Tomlin, eds. 2020. Coming Home: A Theology of Housing. London: Church House Publishing. 

Day, Troy, and Russell Bonduriansky. 2018. Extended Heredity: A New Understanding of Inheritance and Evolution. Princeton, NJ: Princeton University Press. An engaging introduction to a broadened picture of inheritance. 

Jablonka, Eva, and Marion Lamb. 2020. Inheritance Systems and the Extended Synthesis. Cambridge University Press. A short discussion of many of the more expansive aspects proposed for contemporary evolutionary thought. 

Jablonka, Eva, Marion J. Lamb, and Anna Zeligowski. 2014. Evolution in Four Dimensions: Genetic, Epigenetic, Behavioral, and Symbolic Variation in the History of Life. Revised edition. Cambridge, MA: MIT Press. One of the most substantial discussions of the new perspective. 

Laland, Kevin, Tobias Uller, Marc Feldman, Kim Sterelny, Gerd B. Müller, Armin Moczek, Eva Jablonka, et al. 2014. ‘Does Evolutionary Theory Need a Rethink?’ Nature 514 (7521): 161–64. A short two-sided piece, asking whether a transformation in evolutionary thinking is under way.  

Lyons, Nathan. 2019. Signs in the Dust: A Theory of Natural Culture and Cultural Nature. Oxford: Oxford University Press. A fascinating presentation of the idea that something like ‘culture’ is present throughout nature, for instance in what organisms make and pass on.  

Riskin, Jessica. 2016. The Restless Clock: A History of the Centuries-Long Argument over What Makes Living Things Tick. Chicago: University of Chicago. Places recent tussles in biology in a longer historical context. 

Sultan, Sonia E. 2015. Organism and Environment: Ecological Development, Niche Construction, and Adaptation. Oxford: Oxford University Press. A magnificent survey of the importance for science of studying organisms in relation to their environments. 

Review
Culture
Film & TV
Monsters
8 min read

Here's why E.T. is in my list of top Halloween films

What Halloween films reveal about our fears, our families, and our fondness for the ridiculous
A child and E.T. ride a BMX bike across a moon lit sky.
Universal Pictures.

 

Halloween can be exhausting these days. As we continue to import and cement more and more of the American cultural experience, and as I age into maturity and (especially) fatherhood, I find myself spending All Hallow’s Eve in two ways (neither of which is prayer and meditation of the hallowed Saints of the Church, or the Faithful Departed Souls who now rest in Christ): I can take my daughter trick-or-treating, or I can stay home and desperately throw handfuls of sweets and the horde of children in fancy dress who arrive at my door. I always choose option A…I’m a priest…I have a ready-made costume. To aid in the convalescence necessary after such an exhausting evening, I have compiled by Top 5 Halloween Films. 

NOTE: This list is in no particular order, and the entries are not all horror films. In an effort to be ecumenical, and to bring solace to those of all temperaments and dispositions, I’ve taken my criteria as films set on, or around, Halloween. I hope there is at least one offering here that might intrigue and delight you. 

5. The Crow 

A supernatural superhero flick which has gained cult status, this film kicks off the list in style. What style, you ask? The inimitable style of the 90s. Eric Draven and his fiancée are murdered on ‘Devil Night’ (also known as ‘Mischief Night’), on the eve of their Halloween wedding, leaving a distraught Sarah – the young girl they care for. One year later, Eric is resurrected by the spirit of the Crow, who shepherds souls to the afterlife, and resurrects those who die by evil and violence as undead warriors with a mission to find revenge and, perhaps…peace? Certainly not to begin with!  

This film is perfect Halloween fare for those who want the grit and vibe of the holiday without actually having to engage with real fear. The 90s was a decade of looking and sounding edgy without any commitment: the decade of bark, not bite. Brandon Lee (who died during filming in a prop accident – a star in the making, taken too soon) looks terrific as Eric Draven/The Crow, covered in black leather and face paint, excelling at fight and stunt choreography, and towing the line of camp perfectly. The setting is moody darkness and rain and neon, and gothic gargoyles! The music underpins the atmosphere superbly…I mean…the title track is by The Cure! It goes hell for leather in a deliciously pantomimesque fashion and is well worth a watch for spooky fun without the fear. 

4. Halloween II 

The unwanted sibling. The sequel that was never meant to happen. It is unclear to me quite what it was that forced John Carpenter and Debra Hill back to the writing room (perhaps the threat that this sequel would happen with or without them), but it certainly wasn’t passion for the project! Carpenter has described the writing process as one where he essentially had to be drunk to get through it. I must say, if this is the case, it doesn’t show! Halloween II picks up right where the original ends, Laurie Strode (Jamie Lee Curtis) is catatonic after surviving the Haddonfield Halloween night massacre and is immediately transported to hospital. The murderous Michael Myers has disappeared after being shot by his psychiatrist, Dr Loomis (Donald Pleasance returning with the most delightfully hammy performance…in fact with the whole back half of the pig), and now Loomis is back on the hunt. It is all leading to a blood-soaked showdown in Haddonfield Memorial Hospital, and the most contrived plot-twist in horror history; necessary, Carpenter says, for any of this forced sequel (to a perfectly conceived standalone film) to make sense. It isn’t a patch on its progenitor, but it is far better than it deserves to be, allows you to spend some more time with beloved characters, cranks everything up to 11, and is a guilty pleasure of mine – me, a man of taste and refinement, a connoisseur of the creepy, a gentleman in the gathering of the ghoulish. 

3. E.T. 

One for the kids now, especially for those children who find Halloween a bit too much. This is the film that proved Steven Spielberg isn’t just a good filmmaker – he is one of the finest ever to pick up a camera, able to master any story in any genre. E.T. is a small alien who is separated from his group on a routine mission to collect plant samples from Earth. He is taken in by a young boy, Elliot, and protected from the government agents trying to capture him. Over the coming days the two bond, developing an odd empathic link that gives Elliot confidence in school, and gives the two much joy and laughter at home. Soon it is time for E.T. to ‘phone home’ and return to his own planet. Naturally this escape attempt takes place on Halloween, so that the little gremlin-like creature can wear a bedsheet without attracting unwanted attention. After several near escapes form the law, E.T. and Elliot have a goodbye so emotional and poignant that I dare you to watch this with your little ones and not cry…go on…I DARE YOU! E.T. is everything a children’s story should be, and has everything it should have: aliens, coming-of-age shenanigans, clueless parents, a chase with levitating bicycles. It is perfect, and perfectly gentle for a Halloween wind down as a family.  

2. Batman Forever 

Now, I was thirteen when Batman Begins was released; a man of grey-hair and wrinkled visage by the standards of comic books. As a result, Christian Bale is not my Batman – the raspy voice just grates on me! Michael Keaton is my Batman, and is, to this day, the best Batman. However, none of the Keaton films have a Halloween setting as far as I’m aware, so I’m going to recommend the Val Kilmer take on the caped cruder. Kilmer is the billionaire bad-boy Bruce Wayne, a mask he wears to hide his true identity as the crime fighter Batman. Tommy Lee Jones is the once upstanding prosecutor Harvey Dent, who went mad after having acid thrown in his face, and has become the supervillain Two-Face. Jim Carrey plays Edward Nygma, a scientific genius who is researching a technology to send TV signals directly to the brain – research that Bruce Wayne shuts down due to its potential for mind control. Nygma takes on the guise of The Riddler, and he and Two-Face begin to commit a series of robberies to fund the research and, eventually, take down Batman. Their plan culminates on Halloween night, which might explain why no one questions maniacs in ridiculous costume running around Gotham City.  

If you think The Crow is camp (which it is) you haven’t seen anything yet. The gothic is more gothicky, the leather is more leathery, the neon will burn the eyes right out of your skull, and I’m not sure if you can get more 90s than a gurning Jim Carrey menacing Nicole Kidman while Val Kilmer smoulders in anger. If you can keep a secret…I know this film is rubbish, but it was the ‘latest’ Batman film as I was growing up, and I actually really like it, and it brings back so many memories of my childhood, excitedly sitting in front of the telly to watch the action for the fiftieth time. Highly recommended, for the sheer operatic silliness of the film alone – and what is Halloween for if not operatic silliness? 

1. Halloween 

Of course this was going to be on the list. This is THE Halloween film. This is so much a part of the cultural memory that I’m not sure I even need to give a plot synopsis or explain my recommendation. Instead, I could just list the people involved and leave it at that. John Carpenter writing (with Debra Hill), directing, doing the music, probably making the cast’s lunch and everything else! Jamie Lee Curtis in the lead, essentially creating the ‘final-girl’ trope of the slasher flick, and doing it so brilliantly that it has only ever been imitated but never topped. Donald Pleasance…is also there. I can’t quite describe his performance: is it a genius deconstruction of trope and cliché in a valiant attempt to understand the warring forces of light and darkness in the human heart, or is it the work of a man who missed the lunch Carpenter prepared and so has decided to devour the scenery instead? He is bonkers – and I’m here for it! 

Curtis is Laurie Strode, an innocent and virginal (vitally important in the mythos of what becomes the ‘final girl’) high schooler, who will be spending Halloween night babysitting Tommy Doyle while her friends do – ahem – what teenagers do. Honestly, they couldn’t have picked a worse time or place to engage in underaged drinking and pre-marital sex. Haddonfield on Halloween night in 1978 is essentially an abattoir for the morally flexible teen. Because…Michael Myers is on the prowl. Introduced at the start of the film (in a POV shot that has stood the test of time for its chill and shock factor!) as a six-year-old boy who inexplicably stabs his sister to death on Halloween. He is committed to an asylum under the care of Pleasance’s Dr Loomis. On Halloween night, 15 years later, he escapes. Loomis, who’s time with Michael has turned him into a different type of madman, is horrified and starts hunting Michael, accosting innocent children, and all the while screaming about ‘THE EVIL HAS ESCAPED’…he also wonders why the police don’t take him seriously. 

Michael stalks Laurie and her friends, picking them off one-by-one, until only Laurie is left to fight and survive. The film is perfectly taught and lean and coiled: the tension ratchets and ratchets and ratchets until you don’t think you can take anymore. What makes this one of the finest horror films, and my favourite one to watch on Halloween night itself, is its simplicity. Michael Myers has no explanation. Why he killed his sister, why he hunts Laurie, how he is so strong and fast and seemingly invulnerable. He simply is. He happens. He is a force of nature that has no discernible cause or motive. Sometimes evil is like this, and I find my annual viewing of Halloween a tremendous restorative – a reminder of an age when the horror movies didn’t spoon-feed you backstory and explanations…they just gave you damn-good scares! 

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