This is Mark Richards's Cantona Head, a startling depiction of the enigmatic French philosopher and footballer whose uncannily Roman profile makes the piece simultaneously lifelike and classical - apart, that is, from the extremely unlifelike and unclassical colour.
Few today would agree with Tolstoy, who dismissed as merely distracting "the utterly superfluous characters of the villain Edmund, and unlifelike Gloucester and Edgar."(11) The subplot resonates with the main one in many well-remarked ways.
When the researchers alter the chemical rules by which these proteins cut and splice each other, the whole set of molecules either evolves so that it can replicate itself or veers into a decidedly unlifelike chaos.