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#1 NEW YORK TIMES BESTSELLER

With unequaled insight and brio, New York Times columnist David Brooks has long explored and explained the way we live. Now Brooks turns to the building blocks of human flourishing in a multilayered, profoundly illuminating work grounded in everyday life. This is the story of how success happens, told through the lives of one composite American couple, Harold and Erica. Drawing on a wealth of current research from numerous disciplines, Brooks takes Harold and Erica from infancy to old age, illustrating a fundamental new understanding of human nature along the way: The unconscious mind, it turns out, is not a dark, vestigial place, but a creative one, where most of the brain’s work gets done. This is the realm where character is formed and where our most important life decisions are madeâ€"the n! atural habitat of The Social Animal. Brooks reveals the deeply social aspect of our minds and exposes the bias in modern culture that overemphasizes rationalism, individualism, and IQ. He demolishes conventional definitions of success and looks toward a culture based on trust and humility. The Social Animal is a moving intellectual adventure, a story of achievement and a defense of progress. It is an essential book for our timeâ€"one that will have broad social impact and will change the way we see ourselves and the world.

Guest Reviewer: Walter Isaacson on The Social Animal

Walter Isaacson, the CEO of the Aspen Institute, has been chairman of CNN and the managing editor of Time magazine. He is the author of Benjamin Franklin: An American Life and of Kissinger: A Biography, and the coauthor of The Wise Men: Six Friends and the World They Ma! de. He lives in Washington, D.C., with his wife and daught! er.

David Brooks has written an absolutely fascinating book about how we form our emotions and character. Standing at the intersection of brain science and sociology, and writing with the wry wit of a James Thurber, he explores the unconscious mind and how it shapes the way we eat, love, live, vacation, and relate to other people. In The Social Animal, he makes the recent revolution in neuroscience understandable, and he applies it to those things we have the most trouble knowing how to teach: What is the best way to build true relationships? How do we instill imaginative thinking? How do we develop our moral intuitions and wisdom and character? Brooks has always been a keen observer of the way we live. Now he takes us one layer down, to why we live that way.

--Walter Isaacson

An Amazon Interview with David Brooks

We talked ! with David Brooks about, among other things, Jonathan Franzen, Freud, and Brooks's own unfamiliar emotions, just before the publication of The Social Animal. You can read the full interview on Omnivoracious, the Amazon books blog, including this exchange:

Amazon.com: Speaking of Tolstoy, I bet a lot of people are going to quoting the first line of Anna Karenina to you: "Happy families are all alike. Every unhappy family is unhappy in its own way." Is there a consistency between what makes a family happy, the way that this family turns out to be?

Brooks: You know, I never bought Tolstoy's line.

Amazon.com: I didn't either.

Brooks: I didn't know many happy families that were alike. One of the things you learn is that we're all so much more complex. We all contain multitudes, so someone who might be a bully in one circumstance is incredibly compassionate in other circumstances. We have multiple selves, and th! e idea that we can have a very simple view of who we are, what! our cha racter is, that's actually not right.

One of the things all this research shows you is how humble you have to be in the face of the complexity of human nature. We've got a 100 billion neurons in the brain, and it's just phenomenally complicated. You take a little child who says, "I'm a tiger," and pretends to be a tiger. Well that act of imagination--conflating this thing "I" with this thing "tiger"--is phenomenally complicated. No computer could ever do that, but it's happening below the level of awareness. It seems so easy to us. And so one of the things these people learn is they contain these hidden strengths, but at the same time they have to be consciously aware of how modest they can be in understanding themselves and proceed on that basis.

A Letter from Author David Brooks

© Josh Haner, The New York Times

Several years ago I did some reporting on why so many kids drop out of high school, despite all rational incentives. That took me quickly to studies of early childhood and research on brain formation. Once I started poking around that realm, I found that people who study the mind are giving us an entirely new perspective on who we are and what it takes to flourish.

We’re used to a certain story of success, one that emphasizes getting good grades, getting the right job skills and making the right decisions. But these scientists were peering into the innermost mind and shedding light on the process one level down, in the realm of emotions, intuitions, perceptions, genetic dispositions and unconscious longings.

I’ve spent several years with their work now, and it’s changed my perspective on everything.! In this book, I try to take their various findings and weave ! them tog ether into one story.

This is not a science book. I don’t answer how the brain does things. I try to answer what it all means. I try to explain how these findings about the deepest recesses of our minds should change the way we see ourselves, raise our kids, conduct business, teach, manage our relationships and practice politics. This story is based on scientific research, but it is really about emotion, character, virtue and love. We’re not rational animals, or laboring animals; we’re social animals. We emerge out of relationships and live to bond with each other and connect to larger ideas.

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Black Hawk Down [Blu-ray]

• Condition: New
• Format: Blu-ray
• Anamorphic; Color; Dolby; Subtitled; Widescreen

From acclaimed director Ridley Scott (Gladiator, Hannibal) and renowned producer Jerry Bruckheimer (Pearl Harbor, Armageddon) comes a gripping true story about bravery, camaradarie and the complex reality of war. Black Hawk Down stars an exceptional cast including Josh Hartnett (Pearl Harbor), Ewan McGregor (Moulin Rouge!), Tom Sizemore (Saving Private Ryan), Eric Bana (Chopper), William Fichtner (The Perfect Storm), Ewen Bremner (Snatch) and Sam Shepard (All The Pretty Horses). In 1993, an elite group of American Rangers and Delta Force soldiers are sent to Somalia on a critical mission to capture a violent warlord whose corrupt regime has lead to the starvation of hundreds of thousands of Somalis. When the mission ! goes terribly wrong, the men find themselves outnumbered and literally fighting for their lives.Ridley Scott's Black Hawk Down conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against f! urther involvement in Somalia, but Black Hawk Down make! s it cle ar that the men involved were undeniably heroic. --Jeff Shannon Ridley Scott's Black Hawk Down conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Soma! lia, but Black Hawk Down makes it clear that the men involved were undeniably heroic. --Jeff ShannonFrom acclaimed director Ridley Scott (Gladiator, Hannibal) and renowned producer Jerry Bruckheimer (Pearl Harbor, Armageddon) comes a gripping true story about bravery, camaradarie and the complex reality of war. Black Hawk Down stars an exceptional cast including Josh Hartnett (Pearl Harbor), Ewan McGregor (Moulin Rouge!), Tom Sizemore (Saving Private Ryan), Eric Bana (Chopper), William Fichtner (The Perfect Storm), Ewen Bremner (Snatch) and Sam Shepard (All The Pretty Horses). In 1993, an elite group of American Rangers and Delta Force soldiers are sent to Somalia on a critical mission to capture a violent warlord whose corrupt regime has lead to the starvation of hundreds of thousands of Somalis. When the mission goes terribly wrong, the men find themselves outnumbered and literally fighting for t! heir lives.Ridley Scott's Black Hawk Down conveys the r! aw, chao tic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but Black Hawk Down makes it clear that the men involved were undeniably heroic. --Jeff Shannon Ridley Scott's ! Black Hawk Down conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters. Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but Black Hawk Down makes it clear that the men involved were undeniably ! heroic. --Jeff Shannon

The Anti-Christ

• ISBN13: 9781936594269
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Lars von Trier (Europa, Breaking the Waves, Dancer in the Dark) shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and womanâ€"a searing Willem Dafoe (Platoon, The Last Temptation of Christ) and Cannes best actress Charlotte Gainsbourg (Jane Eyre, 21 Grams)â€"retreat to a cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest! corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film.Lars von Trier's notorious Antichrist is a fascinating and extremely gruesome experiment that combines B-horror tropes with art film concepts and cinematography to question differences between high horror and low horror, if there are such categories. Like the best of Argento, namely Suspiria, Antichrist follows a strictly formulaic, minimalist, almost operatic script structure in which the story of a couple, played by Willem Dafoe and Charlotte Gainsbourg, grieve their dead son. The highly organized story, like a poem, has ample space for metaphors to form, dwell, and transform into overgrown mysteries, such as the decadent forest, Eden, where the couple retreat to their cabin to face demons. When the camera zooms in on a flower vase's murky water on the nightstand beside a bereft Gains! bourg, one senses the ensuing downward spiral.

While the ! film's p lot, marked by chapters named after stages of grief, like "Pain" and "Despair," is rooted in absolute realism, the film's glorious moments are in its fantasy. There is a talking fox, subtle hints at ghostly occurrences, and many scenes that express the uncanny. Moreover, Gainsbourg's character, obsessed with witchcraft as it relates to historical gynocide and misogyny, adds much to the film's depressing sensibility that wallows unapologetically in decrepitude and faulty, negative reasoning. Dafoe, who plays the psychologist treating his hallucination-plagued wife, does a remarkable job depicting a person struggling through loss with logic. Antichrist works because Dafoe and Gainsbourg create archetypal characters, functioning symbolically as Logic and Psychosis in a Freudian maze with no exit. That said, the violent conclusions in the film's third chapter, "Despair (Gynocide)," are grim, graphic, and very difficult to watch. Antichrist, like its sister film in ! violence portrayed artfully, Irreversible, has all the more shock value because of the archetypal symbolism it successfully establishes. --Trinie DaltonLars von Trier (Europa, Breaking the Waves, Dancer in the Dark) shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and womanâ€"a searing Willem Dafoe (Platoon, The Last Temptation of Christ) and Cannes best actress Charlotte Gainsbourg (Jane Eyre, 21 Grams)â€"retreat to a cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against ag! e-old superstition; and a profoundly effective horror film.Lar! s von Tr ier's notorious Antichrist is a fascinating and extremely gruesome experiment that combines B-horror tropes with art film concepts and cinematography to question differences between high horror and low horror, if there are such categories. Like the best of Argento, namely Suspiria, Antichrist follows a strictly formulaic, minimalist, almost operatic script structure in which the story of a couple, played by Willem Dafoe and Charlotte Gainsbourg, grieve their dead son. The highly organized story, like a poem, has ample space for metaphors to form, dwell, and transform into overgrown mysteries, such as the decadent forest, Eden, where the couple retreat to their cabin to face demons. When the camera zooms in on a flower vase's murky water on the nightstand beside a bereft Gainsbourg, one senses the ensuing downward spiral.

While the film's plot, marked by chapters named after stages of grief, like "Pain" and "Despair," is rooted in absolute realism, t! he film's glorious moments are in its fantasy. There is a talking fox, subtle hints at ghostly occurrences, and many scenes that express the uncanny. Moreover, Gainsbourg's character, obsessed with witchcraft as it relates to historical gynocide and misogyny, adds much to the film's depressing sensibility that wallows unapologetically in decrepitude and faulty, negative reasoning. Dafoe, who plays the psychologist treating his hallucination-plagued wife, does a remarkable job depicting a person struggling through loss with logic. Antichrist works because Dafoe and Gainsbourg create archetypal characters, functioning symbolically as Logic and Psychosis in a Freudian maze with no exit. That said, the violent conclusions in the film's third chapter, "Despair (Gynocide)," are grim, graphic, and very difficult to watch. Antichrist, like its sister film in violence portrayed artfully, Irreversible, has all the more shock value because of the archetypal symbol! ism it successfully establishes. --Trinie DaltonHere is! Friedri ch Nietzsche's great masterpiece The Anti-Christ, wherein Nietzsche attacks Christianity as a blight on humanity. This classic is essential reading for anyone wishing to understand Nietzsche and his place within the history of philosophy. "We should not deck out and embellish Christianity: it has waged a war to the death against this higher type of man, it has put all the deepest instincts of this type under its ban, it has developed its concept of evil, of the Evil One himself, out of these instincts-the strong man as the typical reprobate, the 'outcast among men.' Christianity has taken the part of all the weak, the low, the botched; it has made an ideal out of antagonism to all the self-preservative instincts of sound life; it has corrupted even the faculties of those natures that are intellectually most vigorous, by representing the highest intellectual values as sinful, as misleading, as full of temptation. The most lamentable example: the corruption of Pascal, who beli! eved that his intellect had been destroyed by original sin, whereas it was actually destroyed by Christianity!" -Friedrich Nietzsche