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This is a really fine first novel. The writing is snappy, the characters are real, and their worries are timeless. Read it! - Paddy
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I have read several celebrity autobiographies, but this one is by far the best. What a life! His father was half Irish and half Mexican. His mother was illegitimate and half Mexican and half Indian. He was conceived while "both" of his parents were fighting with Pancho Villa. He lived in a dirt-floor shed. His father became a migrant farm worker in the U.S. and later got a job at a studio. Quinn's father's arm was nearly torn off by a panther that Quinn had befriended. These are only some of the highlights in just the first 39 pages.
Quinn was originally planning on becoming an architect, but Frank Lloyd Wright sets into motion a serendipitous chain of circumstances, which leads to Quinn becoming an actor instead of an architect.
This book is much more than the story of Quinn, or even the film industry. Through out his life, Quinn seemed to come into contact, or into bed, with everyone that was anyone: anywhere. While still an unknown-unknown, he was in the frequent company and advice of such people as John Barrymore, Error Flynn, W. C. Fields, John Steinbeck, William Saroyan, F. Scott Fitzgerald, and William Faulkner. During this time, he married Cecil B. De Mille's adopted daughter, which resulted in a 20-year-conflict between Quinn and De Mille. Having De Mille as a father-in-law actually harmed Quinn's career.
Quinn tells of a clandestine meeting with Howard Hughes at 2:30 AM on Mulholland Drive and Hughes arrives with 3 cars. Quinn discusses his 3-year-old son drowning in W. C. Fields' swimming pool. Time and space cause me to only try to wet your appetite.
After reading this book, it's hard to tell if Quinn was playing Zorba, or if Zorba was playing Quinn. By the way, even the dance Quinn does at the end of this movie is a very interesting story.
As with all great books, it unfortunately didn't last long enough.
Although he would never receive accolades as a husband, he truly loved his family. He mentioned several times, his grief at the death of his son and the loss of father.
He made many friends along the way, and treasured every one. Not caring whether they were paupers or kings.
In 1983, we had the pleasure of seeing and meeting Mr. Quinn on Broadway, in Zorba the Greek. We had invested in several of his paintings and sculptures, and was invited to a party for him at the Helmsley Palace in New York City. We were really impressed with his ability to encompass a room with his presence, while giving every person a piece of his persona.
This book is excellent reading, which keeps the reader waiting for his next thought. The world will truly miss this great man.
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The introductory text to the experiential exercises at the end of each chapter is well written and instructive. In a few words the authors make valuable points about perception, motivation, leadership, decision-making and problem solving, group work, and team development. They have in mind the professional manager who has on-the-job experience; a younger reader might find it difficult to relate to the tone and style of the book, which is aimed at a literate, educated, intelligent audience.
College professors, many of whom are a finicky lot, have adopted this book for their organizational behavior courses for over twenty years. That they continue to select this text is testimony to its enduring appeal and value.
For those readers who want a more conventional approach to the subject of organizational behavior, Stephen Robbins has written a variety of OB books that are comprehensive, readable, and even entertaining. Robbins covers more ground than Osland, but has less room for personal application of the material.
The reader who wants to learn from concrete experience, reflective observation, abstract conceptualization, and active experiementation will find Organizational Behavior: an Experiential Approach an excellent resource for further study and application.