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 “HOW COULD YOU, A MATHEMATICIAN, BELIEVE THAT EXTRATERRESTRIALS WERE SENDING YOU MESSAGES?” the visitor from Harvard asked the West Virginian with the movie-star looks and Olympian manner. “Because the ideas I had about supernatural beings came to me the same way my mathematical ideas did,” came the answer. “So I took them seriously.”

Thus begins the true story of John Nash, the mathematical genius who was a legend by age thirty when he slipped into madness, and whoâ€"thanks to the selflessness of a beautiful woman and the loyalty of the mathematics communityâ€"emerged after decades of ghostlike existence to win a Nobel Prize for triggering the game theory revolution. The inspiration for an Academy Awardâ€"winning movie, Sylvia Nasar’s now-classic biography is a drama about the mystery of the human mind, triumph over adversity, and the healing power o! f love.Stories of famously eccentric Princetonians abound--such as that of chemist Hubert Alyea, the model for The Absent-Minded Professor, or Ralph Nader, said to have had his own key to the library as an undergraduate. Or the "Phantom of Fine Hall," a figure many students had seen shuffling around the corridors of the math and physics building wearing purple sneakers and writing numerology treatises on the blackboards. The Phantom was John Nash, one of the most brilliant mathematicians of his generation, who had spiraled into schizophrenia in the 1950s. His most important work had been in game theory, which by the 1980s was underpinning a large part of economics. When the Nobel Prize committee began debating a prize for game theory, Nash's name inevitably came up--only to be dismissed, since the prize clearly could not go to a madman. But in 1994 Nash, in remission from schizophrenia, shared the Nobel Prize in economics for work done some 45 years pre! viously.

Economist and journalist Sylvia Nasar has written ! a biogra phy of Nash that looks at all sides of his life. She gives an intelligent, understandable exposition of his mathematical ideas and a picture of schizophrenia that is evocative but decidedly unromantic. Her story of the machinations behind Nash's Nobel is fascinating and one of very few such accounts available in print (the CIA could learn a thing or two from the Nobel committees). This highly recommended book is indeed "a story about the mystery of the human mind, in three acts: genius, madness, reawakening." --Mary Ellen Curtin “HOW COULD YOU, A MATHEMATICIAN, BELIEVE THAT EXTRATERRESTRIALS WERE SENDING YOU MESSAGES?” the visitor from Harvard asked the West Virginian with the movie-star looks and Olympian manner. “Because the ideas I had about supernatural beings came to me the same way my mathematical ideas did,” came the answer. “So I took them seriously.”

Thus begins the true story of John Nash, the mathematical genius who was a legend by a! ge thirty when he slipped into madness, and whoâ€"thanks to the selflessness of a beautiful woman and the loyalty of the mathematics communityâ€"emerged after decades of ghostlike existence to win a Nobel Prize for triggering the game theory revolution. The inspiration for an Academy Awardâ€"winning movie, Sylvia Nasar’s now-classic biography is a drama about the mystery of the human mind, triumph over adversity, and the healing power of love.Stories of famously eccentric Princetonians abound--such as that of chemist Hubert Alyea, the model for The Absent-Minded Professor, or Ralph Nader, said to have had his own key to the library as an undergraduate. Or the "Phantom of Fine Hall," a figure many students had seen shuffling around the corridors of the math and physics building wearing purple sneakers and writing numerology treatises on the blackboards. The Phantom was John Nash, one of the most brilliant mathematicians of his generation, who had spiraled in! to schizophrenia in the 1950s. His most important work had be! en in ga me theory, which by the 1980s was underpinning a large part of economics. When the Nobel Prize committee began debating a prize for game theory, Nash's name inevitably came up--only to be dismissed, since the prize clearly could not go to a madman. But in 1994 Nash, in remission from schizophrenia, shared the Nobel Prize in economics for work done some 45 years previously.

Economist and journalist Sylvia Nasar has written a biography of Nash that looks at all sides of his life. She gives an intelligent, understandable exposition of his mathematical ideas and a picture of schizophrenia that is evocative but decidedly unromantic. Her story of the machinations behind Nash's Nobel is fascinating and one of very few such accounts available in print (the CIA could learn a thing or two from the Nobel committees). This highly recommended book is indeed "a story about the mystery of the human mind, in three acts: genius, madness, reawakening." --Mary Ellen Curtin “HOW COULD YOU, A MATHEMATICIAN, BELIEVE THAT EXTRATERRESTRIALS WERE SENDING YOU MESSAGES?” the visitor from Harvard asked the West Virginian with the movie-star looks and Olympian manner. “Because the ideas I had about supernatural beings came to me the same way my mathematical ideas did,” came the answer. “So I took them seriously.”

Thus begins the true story of John Nash, the mathematical genius who was a legend by age thirty when he slipped into madness, and whoâ€"thanks to the selflessness of a beautiful woman and the loyalty of the mathematics communityâ€"emerged after decades of ghostlike existence to win a Nobel Prize for triggering the game theory revolution. The inspiration for an Academy Awardâ€"winning movie, Sylvia Nasar’s now-classic biography is a drama about the mystery of the human mind, triumph over adversity, and the healing power of love.This Ron Howard film parlays the troubled story of Nobel laureate John Forbes Nash Jr., a gifted ! Princeton mathematics professor tormented for decades by paran! oid schi zophrenia, into something considerably richer than typical Hollywood triumph-against-all-odds fare. Howard has teamed here again with frequent collaborator James Horner, and it's the composer who deftly shades the film's difficult emotional landscape and helps impart a compelling humanity. Horner's first task is not inconsiderable: musically portraying the arcane realm of mathematical theorems that are the story's backdrop. In doing so, the composer leans heavily on modern minimalist technique, bright flourishes that recur briefly throughout an orchestral score that increasingly reflects Nash's bleak inner landscape in its quietly somber and brooding tones. And while Horner has frequently been accused of excessively repeating himself in his scores, the neo-minimalist gambit employed on this reflectively pastoral, postmodernist soundscape neatly nips such criticism in the bud. Nash's triumph is ultimately an intensely personal one, well reflected in Welsh soprano Charlotte Ch! urch's lilting performance of the Horner/Will Jennings ballad "All Love Can Be." This enhanced CD also features notes by the director and composer, as well as exclusive photos and the film's trailer. --Jerry McCulley Winner of 4 Academy Awards, including Best Picture, A Beautiful Mind is directed by Academy Award winner Ron Howard and produced by long-time partner and collaborator, Academy Award winner Brian Grazer. A Beautiful Mind stars Russell Crowe in an astonishing performance as brilliant mathematician John Nash, on the brink of international acclaim when he becomes entangled in a mysterious conspiracy. Now only his devoted wife (Academy Award winner Jennifer Connelly) can help him in this powerful story of courage, passion and triumph.A Beautiful Mind manages to twist enough pathos out of John Nash's incredible life story to redeem an at-times goofy portrayal of schizophrenia. Russell Crowe tackles the role with characteristic fervor, playing the Nob! el prize-winning mathematician from his days at Princeton, whe! re he de veloped a groundbreaking economic theory, to his meteoric rise to the cover of Forbes magazine and an MIT professorship, and on through to his eventual dismissal due to schizophrenic delusions. Of course, it is the delusions that fascinate director Ron Howard and, predictably, go astray. Nash's other world, populated as it is by a maniacal Department of Defense agent (Ed Harris), an imagined college roommate who seems straight out of Dead Poets Society, and an orphaned girl, is so fluid and scriptlike as to make the viewer wonder if schizophrenia is really as slick as depicted. Crowe's physical intensity drags us along as he works admirably to carry the film on his considerable shoulders. No doubt the story of Nash's amazing will to recover his life without the aid of medication is a worthy one, his eventual triumph heartening. Unfortunately, Howard's flashy style is unable to convey much of it. --Fionn Meade