Until recently, scientific and literary cultures have existed side-by-side but most often in parallel universes, without connection. The Trickster Brain: Neuroscience, Evolution, and Nature by David Williams addresses the premise that humans are a biological species stemming from the long process of evolution, and that we do exhibit a universal human nature, given to us through our genes. From this perspective, literature is shown to be a product of our biological selves. By exploring central ideas in neuroscience, evolutionary biology, linguistics, music, philosophy, ethics, religion, and history, Williams shows that it is the circuitry of the brain’s hard-wired dispositions that continually create similar tales around the world: “archetypal” stories reflecting ancient tensions that arose from our evolutionary past and the very construction of our brains. The book asserts that to truly understand literature, one must look at the biological creature creating it. By using the lens of science to examine literature, we can see how stories reveal universal aspects of the biological mind. The Trickster character is particularly instructive as an archetypal character who embodies a raft of human traits and concerns, for Trickster is often god, devil, musical, sexual, silver tongued, animal, and human at once, treading upon the moral dictates of culture. Williams brings together science and the humanities, demonstrating a critical way of approaching literature that incorporates scientific thought.

Until recently, scientific and literary cultures have existed side-by-side but most often in parallel universes, without connection. The Trickster Brain: Neuroscience, Evolution, and Nature by David Williams addresses the premise that humans are a biological species stemming from the long process of evolution, and that we do exhibit a universal human nature, given to us through our genes. From this perspective, literature is shown to be a product of our biological selves. By exploring central ideas in neuroscience, evolutionary biology, linguistics, music, philosophy, ethics, religion, and history, Williams shows that it is the circuitry of the brain’s hard-wired dispositions that continually create similar tales around the world: “archetypal” stories reflecting ancient tensions that arose from our evolutionary past and the very construction of our brains. The book asserts that to truly understand literature, one must look at the biological creature creating it. By using the lens of science to examine literature, we can see how stories reveal universal aspects of the biological mind. The Trickster character is particularly instructive as an archetypal character who embodies a raft of human traits and concerns, for Trickster is often god, devil, musical, sexual, silver tongued, animal, and human at once, treading upon the moral dictates of culture. Williams brings together science and the humanities, demonstrating a critical way of approaching literature that incorporates scientific thought.

In Trickster Makes This World, Lewis Hyde brings to life the playful and disruptive side of human imagination as it is embodied in trickster mythology. He first visits the old stories—Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others—and then holds them up against the lives and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Twelve years after its first publication, Trickster Makes This World—authoritative in its scholarship, loose-limbed in its style—has taken its place among the great works of modern cultural criticism. This new edition includes an introduction by Michael Chabon.

View our feature on Rob Thurman’s Trick of the Light.When Trixa learns of a powerful artifact known as the Light of Life, she knows she’s hit the jackpot. Both sides—angel and demon—would give anything for it. But first she has to find it. And as Heaven and Hell ready for an apocalyptic throwdown, Trixa must decide where her true loyalty lies, and what she’s ready to fight for. Because in her world, if you line up on the wrong side, you pay with more than your life…

In Adapted Brains and Imaginary Worlds, Donald Beecher explores the characteristics and idiosyncrasies of the brain as they affect the study of fiction. He builds upon insights from the cognitive sciences to explain how we actualize imaginary persons, read the clues to their intentional states, assess their representations of selfhood, and empathize with their felt experiences in imaginary environments. He considers how our own faculty of memory, in all its selective particularity and planned oblivion, becomes an increasingly significant dimension of the critical act, and how our own emotions become aggressive readers of literary experience, culminating in states which define the genres of literature. Beecher illustrates his points with examples from major works of the Renaissance period, including Dr Faustus, The Faerie Queene, Measure for Measure, The Yorkshire Tragedy, Menaphon, The Dialogue of Solomon and Marcolphus, and The Moral Philosophy of Doni. In this volume, studies in the science of mind come into their own in explaining the architectures of the brain that shape such emergent properties as empathy, suspense, curiosity, the formation of communities, gossip, rationalization, confabulation, and so much more that pertains to the behaviour of characters, the orientation of readers, and the construction of meaning. Discussing a breadth of topics – from the mysteries of the criminal mind to the psychology of tears – Adapted Brains and Imaginary Worlds is the most comprehensive work available on the study of fictional worlds and their relation to the constitution of the human brain.

Inventive, provocative, and ultimately affirmative, The Trickster of Liberty has become a classic in the repertoire of celebrated author Gerald Vizenor. A series of related stories, the novel follows the lives of seven mixedblood trickster siblings who began their lives on a reservation in northern Minnesota. Behaving in unpredictable ways, these siblings defy any attempt to fit them within stereotypical notions of the Indian.

"How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?" Superscenes are a revolutionary new mode of teaching and rehearsal, allowing the actor to discover and utilize the primal energies underlying dramatic texts. In Acting, Archetype, and Neuroscience Jane Drake Brody draws upon a lifetime’s experience in the theatre, alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience. The resulting interdisciplinary, exciting volume works to: Mine the essentials of accepted acting theory while finding ways to access more primally-based human behavior in actors Restore a focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives Uncover the mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself Focus on the actor’s body as the only place where the conflict inherent in drama can be animated. Acting, Archetype, and Neuroscience weaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike.

An illustrated collection of tales featuring notable trickster characters such as Raven and Hare, from the folk traditions of many countries.

The story of a neural impulse and what it reveals about how our brains work We see the last cookie in the box and think, can I take that? We reach a hand out. In the 2.1 seconds that this impulse travels through our brain, billions of neurons communicate with one another, sending blips of voltage through our sensory and motor regions. Neuroscientists call these blips “spikes.” Spikes enable us to do everything: talk, eat, run, see, plan, and decide. In The Spike, Mark Humphries takes readers on the epic journey of a spike through a single, brief reaction. In vivid language, Humphries tells the story of what happens in our brain, what we know about spikes, and what we still have left to understand about them. Drawing on decades of research in neuroscience, Humphries explores how spikes are born, how they are transmitted, and how they lead us to action. He dives into previously unanswered mysteries: Why are most neurons silent? What causes neurons to fire spikes spontaneously, without input from other neurons or the outside world? Why do most spikes fail to reach any destination? Humphries presents a new vision of the brain, one where fundamental computations are carried out by spontaneous spikes that predict what will happen in the world, helping us to perceive, decide, and react quickly enough for our survival. Traversing neuroscience’s expansive terrain, The Spike follows a single electrical response to illuminate how our extraordinary brains work.

The Revolutionary Phenotype is a science book that brings us four billion years into the past, when the first living molecules showed up on Planet Earth. Unlike what was previously thought, we learn that DNA-based life did not emerge from random events in a primordial soup. Indeed, the first molecules of DNA were fabricated by a previous life form. By describing the fascinating events referred to as Phenotypic Revolutions, this book provides a dire warning to humanity: if humans continue to play with their own genes, we will be the next life form to fall to our own creation.