In The Emergence of Everything (see What I've Been Reading), the eighth of Morowitz's twenty-eight emergences is the one he has specialized in as a biologist, metabolism. My eyes glazed over as I began this chapter, because of what Morowitz admits are its "tongue-twisting polysyllabic words such as nicotinamide-adenine-dinucleotide-phospate." Although I have vivid memories of disecting a cat in my college biology course, I have no conscious memories of learning the principles of metabolism.
I now wish I did, because the chapter is gripping. It tells two stories. One story is of the emergence of metabolism, the basis of life, out of the earth's lithosphere, hydrosphere, and atmosphere. The other story is of humanity's growing understanding of the intricacies of metabolism, as diagrammed in the Chart of Intermediary Metabolism (here's one version of it).
I like Morowitz's characterization of the chart:
The intellectual accomplishment that we here praise is not the work of a single individual, nor was it put together in a blinding flash of insight. Rather, it is the product of many researchers working at their laboratory benches over a period of more than a hundred years. Because the great structure came about so slowly and in such small steps, few biochemists have shown interest in extolling its magnificence. Their reticence may also come from the fact that the Chart of Intermediary Metabolism is very complicated and remains an unfinished efice, like the great cathedral of Cologne, which was left with a crane still standing on one of its towers for many years as a symbol of the tasks for future generations (71).
I first visited Cologne Cathedral, with Bette and our kids, in the summer of 1981. Like most visitors, I almost lost my breath to the immensity and beauty of its nave. But then something totally unexpected happened, a kind of emergence in its own right. Suddenly, reverberating through that glorious space, came the sound of a single soprano voice singing, in English, the first line of "Amazing Grace." Then a second voice joined in, and a third, and more, sopranos and basses and altos and tenors, finishing the hymn in a capella harmony.
We soon learned that what we had heard were members of a Baptist choir from Texas, visiting the cathedral only as tourists like us, but unable to contain their spontaneous expression of awe.
So I understand exactly what Morowitz means when he calls the Chart of Intermediary Metabolism, like Cologne Cathedral, an "object of poetic rapture" (71).