One of the most amazing parts of The Cell’s Design is the chapter called “A Style All His Own.” Darwinian evolution, if rewound, would come out different ways every time. Different mutations would occur, which would lead to different organisms. What is not expected, on Darwinism, is a convergence pattern in evolution. When the same templates keep showing up through independent routes of development, it provides strong evidence for a designer. Yet this “molecular convergence” is exactly what scientists have discovered again and again. On pages 207-214 Rana writes, with citations from scientific journals, of no less than 100 examples of molecular convergence. As a reader, one can’t help but be stunned as they go through these pages. Over and over, there is evidence that the same designs show up in different places, independently, throughout nature. As Rana writes, “if life emanates from a Creator, it’s reasonable to expect he would use the same designs repeatedly…” (215). And this repetition of design is found in life’s most basic components: DNA (216ff).
Rana does not ignore detractors arguments against his position. One counter-argument to Rana’s conclusions is the presence of poorly-designed mechanisms in nature. Yet Rana effectively nullifies these examples, citing how many of them have turned out to be optimally tuned for life, and how others may be expected to be equally tuned (258ff).
The Cell’s Design is an extremely difficult read, but it does not leave readers who are not scientists to flounder.
One thing about Rana is that his work, unlike say Stephen Meyer’s Signature in the Cell (Harper One, 2009), is explicitly apologetic, as befits his involvement with Hugh Ross’s Reasons to Believe.
Hat tip: Wintery Knight