From the legendary songwriter Diane Lampert, based on a musical piece she wrote with Pulitzer Prize and nine-time Grammy–winning jazz musician Wynton Marsalis, comes an exquisitely illustrated folktale about how we humans got some of our…naughtier traits, and what overcomes them all. Mother Nature is a very busy woman. Her job is to tend to the Earth and all the creatures that dwell there—she must wake up the bulbs and warm the land in spring, she must freeze the ponds and create snow in winter. But more than anything, Mother Nature wanted children of her own. So with twigs and things she made five: Fear, Envy, Hate, Greed, and Fickle. She asks the most helpless of creatures—the poor, wingless humans—to watch over them as she works. But then her children’s wild personalities begin to seep into human nature in a way that Mother Nature never intended. A lilting, lyrical ode to all of our human shortcomings and the one trait—love—that can overcome them all.

In this book, Jonathan H. Turner combines sociology, evolutionary biology, cladistic analysis from biology, and comparative neuroanatomy to examine human nature as inherited from common ancestors shared by humans and present-day great apes. Selection pressures altered this inherited legacy for the ancestors of humans—termed hominins for being bipedal—and forced greater organization than extant great apes when the hominins moved into open-country terrestrial habitats. The effects of these selection pressures increased hominin ancestors’ emotional capacities through greater social and group orientation. This shift, in turn, enabled further selection for a larger brain, articulated speech, and culture along the human line. Turner elaborates human nature as a series of overlapping complexes that are the outcome of the inherited legacy of great apes being fed through the transforming effects of a larger brain, speech, and culture. These complexes, he shows, can be understood as the cognitive complex, the psychological complex, the emotions complex, the interaction complex, and the community complex.

By the early 1940s, when Ukrainian-born Irène Némirovsky began working on what would become Suite Française—the first two parts of a planned five-part novel—she was already a highly successful writer living in Paris. But she was also a Jew, and in 1942 she was arrested and deported to Auschwitz: a month later she was dead at the age of thirty-nine. Two years earlier, living in a small village in central France—where she, her husband, and their two small daughters had fled in a vain attempt to elude the Nazis—she’d begun her novel, a luminous portrayal of a human drama in which she herself would become a victim. When she was arrested, she had completed two parts of the epic, the handwritten manuscripts of which were hidden in a suitcase that her daughters would take with them into hiding and eventually into freedom. Sixty-four years later, at long last, we can read Némirovsky’s literary masterpiece The first part, “A Storm in June,” opens in the chaos of the massive 1940 exodus from Paris on the eve of the Nazi invasion during which several families and individuals are thrown together under circumstances beyond their control. They share nothing but the harsh demands of survival—some trying to maintain lives of privilege, others struggling simply to preserve their lives—but soon, all together, they will be forced to face the awful exigencies of physical and emotional displacement, and the annihilation of the world they know. In the second part, “Dolce,” we enter the increasingly complex life of a German-occupied provincial village. Coexisting uneasily with the soldiers billeted among them, the villagers—from aristocrats to shopkeepers to peasants—cope as best they can. Some choose resistance, others collaboration, and as their community is transformed by these acts, the lives of these these men and women reveal nothing less than the very essence of humanity. Suite Française is a singularly piercing evocation—at once subtle and severe, deeply compassionate and fiercely ironic—of life and death in occupied France, and a brilliant, profoundly moving work of art.

As the founder and leading practitioner of "literary Darwinism," Joseph Carroll remains at the forefront of a major movement in literary studies. Signaling key new developments in this approach, Reading Human Nature contains trenchant theoretical essays, innovative empirical research, sweeping surveys of intellectual history, and sophisticated interpretations of specific literary works, including The Picture of Dorian Gray, Wuthering Heights, The Mayor of Casterbridge, and Hamlet. Evolutionists in the social sciences have succeeded in delineating basic motives but have given far too little attention to the imagination. Carroll makes a compelling case that literary Darwinism is not just another "school" or movement in literary theory. It is the moving force in a fundamental paradigm change in the humanities—a revolution. Psychologists and anthropologists have provided massive evidence that human motives and emotions are rooted in human biology. Since motives and emotions enter into all the products of a human imagination, humanists now urgently need to assimilate a modern scientific understanding of "human nature." Integrating evolutionary social science with literary humanism, Carroll offers a more complete and adequate understanding of human nature.

This book criticizes three basic concepts in Reinhold Niebuhr's social thought: his views of human nature, interest, and power. Attention is directed especially at the way Niebuhr's concepts lack sufficient historicity, obscure social and political dynamics, and, finally, lack adequate descriptive power. An alternative to each of these concepts is offered and used as a way to open up social thought to more complex analysis, more concrete and material uses, and a discussion of implications for alternative direction and action.