All versions written for nonscientists speak of fused males as the curious tale of the anglerfish–just as we so often hear about the monkey swinging through the trees, or the worm burrowing through soil. But if nature teaches us any lesson, it loudly proclaims life’s diversity. There ain’t no such abstraction as the clam, the fly, or the anglerfish. Ceratioid anglerfishes come in nearly 100 species, and each has its own peculiarity.

Eugene Dubois is no hero in my book, if only because I share the spirit of his unorthodoxies, but disagree so strongly with his version, and regard his supporting arguments as so weakly construed and so willfully blind to opposing evidence (the dogmatist within is always worse than the enemy without).

Hyper-selectionism has been with us for a long time in various guises; for it represents the late nineteenth century’s scientific version of the myth of natural harmony–all is for the best in the best of all possible worlds (all structures well designed for a definite purpose in this case). It is, indeed, the vision of foolish Dr. Pangloss, so vividly satirized by Voltaire in Candide–the world is not necessarily good, but it is the best we could possibly have.

If you see an antimatter version of yourself running towards you, think twice before embracing.

So why fret and care that the actual version of the destined deed was done by an upper class English gentleman who had circumnavigated the globe as a vigorous youth, lost his dearest daughter and his waning faith at the same time, wrote the greatest treatise ever composed on the taxonomy of barnacles, and eventually grew a white beard, lived as a country squire just south of London, and never again traveled far enough even to cross the English Channel? We care for the same reason that we love okapis, delight in the fossil evidence of trilobites, and mourn the passage of the dodo. We care because the broad events that had to happen, happened to happen in a certain particular way. And something unspeakably holy –I don’t know how else to say this–underlies our discovery and confirmation of the actual details that made our world and also, in realms of contingency, assured the minutiae of its construction in the manner we know, and not in any one of a trillion other ways, nearly all of which would not have included the evolution of a scribe to record the beauty, the cruelty, the fascination, and the mystery.

There are many different styles of composition. I characterize them always as Mozart versus Beethoven. When Mozart began to write at that time he had the composition ready in his mind. He wrote the manuscript and it was ‘aus einem Guss’ (casted as one). And it was also written very beautiful. Beethoven was an indecisive and a tinkerer and wrote down before he had the composition ready and plastered parts over to change them. There was a certain place where he plastered over nine times and one did remove that carefully to see what happened and it turned out the last version was the same as the first one.

Whenever there is a simple error that most laymen fall for, there is always a slightly more sophisticated version of the same problem that experts fall for.