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Inside Out explores the following topics:
oAssume nothing - question your assumptions and expectations
oChoosing a path - Will you take the road less traveled, the easy path or the path of charlatans
oBreaking the shackles of fear - who we've become vs. who we want to be
oExecuting at the speed of thought - navigating between the known and unknown
oWhen opportunity knocks - find the hidden talents of you team members
oConsistent-is-my-name - Are you open to change and growth
oHow me was changed to we - the power of teams
oMoral Dilemmas - will your values hold up under pressure
oThe ABCs of a Strong Organization - leadership, organization and team building
oCome Monday Morning - reaching for the next step
Inside Out is a quick read and thought provoking read.
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The second half of the book (which focuses on solutions) is worthy but far less interesting -- the sort of material that is probably tremendously helpful if you want an introduction to possible reforms, but which is less interesting if you are already familiar with these issues.
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O'Connor puts the plays and the life of Shakespeare in the context of their time, and Shakespeare emerges as an astute, talented, subtle, and versatile man in a vibrant and turbulent time. We see Shakespeare as a contemporary Elizabethan who had his finger on the pulse of society but who was smart enough to keep his fingers out of the pie. O'Connor shows how Shakespeare also used theater as an outlet to express personal struggles and discord. O'Connor's use of excerpts from the plays and sonnets illustrates this excellently.
One of the drawbacks of the book is that O'Connor's tone is of an insider not only of the theatrical world but also of Shakespeare's world. I got the sense that I am supposed to understand all of the obscure references and the oblique tongue-in-cheek quips. On a few occasions in the book when I got the reference, I could not tell if O'Connor was making a mistake or making a joke. He refers to a novelized interpretation of Shakespeare's love life by Anthony Burgess as "Brighter than the Sun," but the actual title is "Nothing Like the Sun." It was difficult to tell if O'Connor was in error or if he was poking fun at the brilliant, stylized, and occasionally pedantic writing of Burgess. O'Connor also suggests that in "King Lear," it was not Lear who confused his Fool with Cordelia at the end of the play ("And my poor fool is hanged"), but rather that the tired playwright mixed-up the two characters because they were played by the same actor.
Another drawback is the general style of writing. O'Connor's sentences are often very long and complex. I found myself rereading sentences more than twice in order to get his point. This drawback is minor and has much to do with the British style of punctuation, but it is also obvious.
O'Connor presents assumptions about Shakespeare's family relationships that I can accept, in particular the relationships with his mother, father, wife, and son. These assumptions are based on the scant historical records, commentary by writers and actors, and excerpts from the plays and sonnets. O'Connor also writes that despite the opinion that Shakespeare did not reveal his personal beliefs in his plays, we really can know Shakespeare through his writings. There are speeches and characters that exactly fit their places in the plays, and yet somehow they also transcend the context of the play and speak to us. Through these passages we know the personal musings of Shakespeare. Perhaps that is the most important thing of all, and that is a notion that definitely can be taken from O'Connor's book.
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One night during the Second World War, an allied bomber was on a mission over Germany. The plane was in perfect condition and everything on it worked properly. When it had reached its target, the pilot ordered the bomb doors opened. They opened. He then ordered the bombs released. They were released. But the bombs did not fall from the plane. Why should this be so?
Some clues are given, and the eventual answer is that the plane was flying upside-down. Now, lateral thinking it might be, but it makes no sense that a plane flying a mission during a war would order its bombs to be released over a target while it was flying upside down. A good puzzle encourages thinking, but anyone who seriously tries to answer that puzzle would discard the given answer as making no sense.
There are still some very clever puzzles to be found here, and the book is worth buying if you want a collection of lateral thinking puzzles, but beware that sometimes Sloane crosses the fine line between ingenious and implausible.
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I would have to say that there are fairly good reasons why it remained unpublished for so many years. It's simply not very interesting.
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More importantly, it explains why the good ones worked and why the bad ones didn't -- and don't, even today.
The insights here are devastating to anyone who believes we need to give more money to existing welfare and charity programs, and profoundly empowering to anyone interested in finding approaches that will actually work, because they actually have.
(I am not an historian, so I am trusting that the authors are not flat-out lying. If they are, please write a book debunking them. If they aren't, then we should immediately change our entire approach to public charity in the US.)