The ability to socialize freely and proficiently in a foreign environment is a valuable skill that “at least one-third of the people we know” are either reluctant or unfitted to pursue. However, according to Susan Cain’s Quiet: The Power of Introverts in a World That Can’t Stop Talking, the social ambivalence that correlates with introversion is a much more minor issue than perceived by many of today’s intellects. Her work not only outlines the advantages of introverted behavior but provides “convincing evidence for valuing substance over style, steak over sizzle, and prizing qualities that are, in America, often derided.”

As an introvert herself, Cain shares personal experiences and firsthand investigations to express discontent with the “extrovert ideal.” This evolutionary attitude became apparent during what cultural historian Warren Susman describes as a shift from a culture of character (where good deeds are valued by society) to a culture of personality (where societal admiration goes to the charismatic).

Her experimental findings emphasize the positive aspects of introversion. Throughout Quiet, Cain diagnoses behavioral tendencies and assesses the potential of certain personality types. She also introduces readers to some of the most successful introverts in history, including Albert Einstein and Eleanor Roosevelt.

For decades, self-help gurus have written countless best-selling tomes promising to “fix” introverts by changing them into extroverts. But in Quiet, Cain explains the detrimental consequences of such irrational and inherently self-defeating efforts.

While Cain concentrates on the power and the vitality of introverts, she in no way undervalues the significance of sociability. She is quick to point out that her husband and many of her best friends are extroverts, and she deftly straddles the fence, careful to avoid siding with one personality type over another. As the title of her book suggests, Quiet: The Power of Introverts in a World That Can’t Stop Talking is meant to make people more aware of introverted potential in primarily extroverted environments.

Based on years of research and scientific inquiry, Quiet eloquently addresses the bias against introverts and provides previously unacknowledged agency to those of subtler personalities. From Saddleback Church in California to Harvard Business School, Cain travels an extraordinary distance and absorbs her readers in all of her intricate observations along the way. Quiet is an excellent read that will surely change your opinion of the relationship between introverts and extroverts.

Graduate of Princeton and Harvard Law School, Cain has published a number of works on introverted behavior. After the release of Quiet, she appeared as a featured speaker on TEDTalks: Ideas Worth Spreading, thus propelling her to a number of other speaking opportunities all over the world. You can visit Cain at her blog, ThePowerofIntroverts.com, or view her TED lecuture “The Power of Introverts.”

Click here to take the “Are You an Introvert?” quiz, excerpted from Quiet, and find out where you fall on the introvert-extrovert spectrum.

Book Review: Quiet The Saturday Evening Post

The Deltas huddle off-screen around Verna Bloom, who played Mrs. Wormer—the dean's alcoholic, lecherous wife, Marion, in the film. Photos from Fat, Drunk, and Stupid by Matty Simmons. Copyright © 2012 by the author. Reprinted by permission of St. Martin’s Press, LLC.

Like Tiger Woods for golf or Elvis Presley for rock ‘n’ roll, National Lampoon’s Animal House single-handedly redefined the art of comedy and provided a quintessential model for future Hollywood projects. Following its release in 1978, Animal House spent eight weeks at box-office No. 1 and emerged as one of the highest grossing, most successful movie productions in the history of the entertainment business.

Today—and $600 million later—it remains one of the funniest movies to ever hit the big screen.

Fat, Drunk, and Stupid: The Inside Story Behind the Making of Animal House by producer Matty Simmons, recounts the film’s imperishable legacy.

“I wrote Fat, Drunk, and Stupid because I have constantly been amazed at the continued popularity of Animal House,” Simmons says. “People talk to me about it all the time, and I’ve always found it hard to believe that a movie released in 1978 would still be quoted and copied [today].”

Years before Animal House was even so much as a thought, Matty Simmons was living in New York City working as a press agent for local nightclubs and restaurants. However, as he details in the opening chapters of Fat, Drunk, and Stupid, it took but a few strokes of luck for his occupation to change and his career to flourish. From local press agent to company executive, he escalated up the professional hierarchy and eventually founded National Lampoon Inc., earning the title of CEO and propelling him ever closer to Animal House.

(From left) Animal House screenwriter Douglas Kenney, producers Matty Simmons and Ivan Reitman, and screenwriter Chris Miller on the last day of the 32-day shoot. Founder and CEO of National Lampoon, Matty Simmons shares the movie’s outrageous story in Fat, Drunk, and Stupid.

By 1975, Simmons had proven himself as a magazine, television, and Broadway musical producer. Despite Hollywood’s cruel and unpredictable reputation, he decided to embrace the challenges of the film industry, thus vowing never to allow the thought of failure to inhibit his vocational pursuit.

“Hollywood has a way of deflating egos. [However], it never entered my mind that I would remain a New York press agent forever,” Simmons remarked. “All my life, I’ve tried to reach up.”

Humorously appealing and utterly revealing, Fat, Drunk, and Stupid traipses through the development of Animal House and depicts how an unplanned trip through Hollywood resulted in one of the greatest American comedies of all time. Through personal stories and direct testimonies, Simmons reflects upon the days of production and engages his readers with on- and off-set humor from the Animal House undertaking. Complete with behind-the-scenes reports and exclusive cast and crew interviews, Fat, Drunk, and Stupid celebrates the success of Animal House with the unveiling of its incredible Hollywood saga.

For four weeks in 1977, the cast and crew of Animal House invaded the town of Eugene, Ore., home to the University of Oregon. Shooting on the grounds of an actual college campus in a fictional fraternity —Delta Tau Chi House (background)—gave the film a sense of authenticity.

Like all breakthroughs in filmmaking, Animal House experienced its share of difficulties and took time to evolve. In fact, as Simmons openly admits, the initial idea for Animal House received negative feedback and overwhelming disapproval from practiced Hollywood agents. Several networks and multiple Hollywood directors passed on the film’s script, and even when Universal Studios President Ned Tanen agreed to fund Animal House, he prefaced his proposal by saying, “I hate this treatment. … I’d never make this movie—except you’re the National Lampoon.” Thus, according to Simmons, the green light for production was offered somewhat unenthusiastically with Universal confining the crew to 32 filming days and $3 million in finances. However, with stories about luggage requirements and costume efficiency, Fat, Drunk, and Stupid explains how the Animal House team managed to overcome its financial concerns and turn a harshly criticized initial film script into an icon of the American cinema.

Saturday Night Live star John Belushi played the unforgettable character Bluto in the film, directed by newcomer John Landis who went on to direct such hits as The Blues Brother and Coming to America.

With the exception of John Belushi, Animal House cast members showed up on set with very little experience in the Hollywood spotlight. Many were struggling in the entertainment business, and some were even pursuing careers elsewhere. In Fat, Drunk, and Stupid, Simmons reveals the team’s recruiting tactics and explains the evaluation process he and director John Landis adopted to build their cast. He goes on to describe how well they interacted and how impressively they balanced work and fun, saying “It was Animal House during the day and a real-life animal house party room at night.” From fistfights to drunken romances and wild parties to harmless pranks, members of the Animal House team engaged in activities nearly as wild as those displayed in the movie, and Fat, Drunk, and Stupid recounts them all.

Because of the relationships that developed as a result of the Animal House production, many members of the cast and crew kept in touch and continue to meet at celebrations, awards ceremonies, and other social gatherings today. However, several members of the team have since passed away and Fat, Drunk, and Stupid honors them all, commemorating Belushi specifically with a special chapter tracing his illustrious career and recalling his wild, yet inspiring personality.

The cast of Animal House was made up almost completely of then-unknowns. However, the film earned more than $600 million, launched countless careers, and eventually became one of America’s most beloved comedy classics.

The legacy of Animal House extends far beyond Otter’s testimony or Bluto’s aggression against the guitarist, and despite an inauspicious start, sits perched atop the list of Bravo TV’s “100 Funniest Movies.” In what is Matty Simmons’ eighth book publication, Fat, Drunk, and Stupid rationalizes how a bunch of unknown actors came together to spearhead the movie production that will forever remain embedded in the culture of Hollywood and the roots of modern film comedy.

Book Review: Fat, Drunk, and Stupid The Saturday Evening Post