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\"Science in fiction,\" \"geek novels,\" \"lab-lit\"—whatever one calls them, a new generation of science novels has opened a space in which the reading public can experience and think about the powers of science to illuminate nature as well as to generate and mitigate social change and risks. Under the Literary Microscope examines the implications of the discourse taking place in and around this creative space. Exploring works by authors as disparate as Barbara Kingsolver, Richard Powers, Ian McEwan, Ann Patchett, Margaret Atwood, and Michael Crichton, these essays address the economization of scientific institutions; ethics, risk, and gender disparity in scientific work; the reshaping of old stereotypes of scientists; science in an evolving sci-fi genre; and reader reception and potential contributions of the novels to public understandings of science. Under the Literary Microscope illuminates the new ways in which fiction has been grappling with scientific issues—from climate change and pandemics to artificial intelligence and genomics—and makes a valuable addition to both contemporary literature and science studies courses. In addition to the editors, the contributors include Anna Auguscik, Jay Clayton, Carol Colatrella, Sonja Fücker, Raymond Haynes, Luz María Hernández Nieto, Emanuel Herold, Karin Hoepker, Anton Kirchhofer, Antje Kley, Natalie Roxburgh, Uwe Schimank, Sherryl Vint, and Peter Weingart.

The crowd waved banners with slogans that included \"No more Dr Nice Guy\" and \"Up and atom\", and were addressed by neuroscientist Colin Blakemore, former Liberal Democrat MP Evan Harris, science writer Simon Singh and Jenny Rohn, a cell biologist and founder of Science is Vital.

\"Having children is also repetitive and has its disappointments,\" she says. \"They're saying they don't like these things, but it is what they are used to doing with children. You'd think they would be good at this. Maybe they don't want to do them at work as well as at home.\" \"You work hard, but can juggle it in your own way,\" says Rivka Isaacson, 33, a biophysics postdoc. \"You have more autonomy than you might in other jobs. It's constantly stimulating and you meet and work with interesting people.\" That said, [Jenny Rohn] and Isaacson both feel very aware of their gender. \"Every interviewing panel I've been up against has been exclusively male, which is intimidating,\" says Isaacson. \"I don't think the male chauvinism is conscious any more, or as overt as in the old days,\" says Rohn, \"but it's still there. When it comes to recruiting a position or selecting speakers for high-profile lectures, men naturally think of their mates first. You still see seminar series with hardly any females speaking, and shortlisted positions with no, or few, female candidates.\"

\"There is absolutely no reason why lab coats have to be shapeless, sexless and colourless,\" says [Jenny Rohn]. \"Why not black and fitted? White is a disastrous colour for lab work. Every little spill shows. Surely we can do better.\" It's time to bring lab coats into the 21st century, says [Wynn Abbott]. \"It amazes me that while science, technology and fashion have metamorphosed so extraordinarily, the lab coat has remained so unchanged,\" he says. \"Maybe it's a case of 'if it ain't broke, don't fix it', but I think it is more institutionalised than that. Scientists aren't encouraged to express their personality and individuality.

Nick Brooke, the co-director with Jenny Rohn, created this mutt musical by gathering recordings on trips to 11 corners of the country (Ocean Grove, N.J.; Del Rio, Tex., etc.) that were what he considered \"border towns,\" although he means this term very loosely.