Wright brings in a whole new approach to assisting clients by presenting a more comprehensive and values driven program.

There is also a good deal of solid life advice in these pages that many would do weel to heed.

I have heard that Wright comes up short as a practice consultant through colleagues but the wisdom in this book is worth its weight in gold. I think it is a worthy resource to pass on to clients to let them know where you are coming from and to establish expectations.

This book gives a new meaning into the commonly asked question "what are your goals and objectives?" All advisors are trained to ask that but only 8 out of 10 do. The book emphasizes the importance of asking the question. Understanding a persons mission and overall plan can only help you help them achieve the perfect calendar.

I have been advising high net clients for years. It wasn't until I read the book that all the pieces of the puzzel finally fell into place for me. Now, "The Wright Exit Strategy" is required reading for all my new clients and any existing clients who truly want to achieve the best possible outcome with their lives and the use of their wealth.

I bought this book from Amazon.com based on the Star rating. I did not know if it was really valid. It is!

This book about Frank Lloyd Wright's designs give a conceptual overview to the evolution of his style. It is excellent for the novice, non architect (which I am). I have been able to visit three of his homes based on the directory in the back. It has also opened up other venues to help me arrive at a FLW inspired house that I am about to build. It is worth the cost if you are looking for the best single source of his work that I have been able to locate outside of the Frank Lloyd Wright Foundation

This is an expensive book but you need only buy it once and you will have readable plans and details of more than 470 Wright buildings. I love his work and have several books about the great man but I find that plans in other books are sometimes unreadable because of the reduction to fit on the page. William Storrer has redrawn them all and taken nearly all the black and white photos. These are to Wright's specification: exterior shots to be in a natural context and include foliage, interiors should be taken with natural light and from a seated position and as Storrer says, this last condition excludes most contemporary color photography of his work. Also included is a ZIP code index of the buildings if you want to visit and see the outside, lucky Illinois and Wisconsin have the most.

Brillliant though this book is I really wanted to see Wright's work in color and I can recommend 'The Vision of Frank Lloyd Wright' by Thomas A Heinz, an inexpensive 448 page book with a color photo of every building.

Both authors are experts on Wright and if you have these two books (and a table to support their weight) you will hardly need to buy any other books on America's greatest architect, then again I liked Doreen Ehrlich's 'Frank Lloyd Wright Glass' and Carla Lind's 'The Wright Style: the interiors of Frank Lloyd Wright' and......!

This book is indispensable for anyone serious about Wright or american or modern architecture. It contains detailed plans of every known work, and insightful commentary. If one could purchase only one book about Wright, to understand both the scope and detail of his whole work, this would be it.

The sonnet is one of the more difficult-to-write forms of poetry, with very strict rules on rhyming and lines, and that makes Shakespeare's collection of sonnets all the more impressive. Shakespeare sprinkled his various plays with poetry and songs, but there is something of a different flavor to these works.

Titleless, identified only by numbers, these poems have vivid metaphors and imagery ("let not winter's ragged hand deface," "gold candles fix'd in heaven's air"). The tone of the poetry varies from one sonnet to the next; sometimes it focuses on old age, to love that "looks upon tempests and is not shaken," and simple expressions that can't really be interpreted any other way. Some of it is pretty well-known ("Shall I compare thee to a summer's day?/Thou art more lovely and more temperate") but most of them you won't have seen before.

Even if you're not normally a fan of poetry, the delicate touch of Shakespeare's words is worth checking into. Fantastic.

This edition of the sonnets is one of the most important and the description on Amazon is misleading - It is actually both volumes 24 and 25 bound together so you get the complete set It's hard to find this book so it is a great find in this version

Shakespeare's amazing Sonnets are compiled here in this wonderful volume, a great addition to anyone's bookshelf. If you love Shakespeare, then this is a must-have book.

This work, written by two playwriting professors from Wyoming University, covers all the basics that any beginning, medium level or veteran playwright would ever need. In fact, the book is outlined much in the manner of a top rate survey course, possessing the vital ingredient of bold head outlines and charts. It would be easy for playwrights to develop their own checklists, flow charts, or a series of note cards covering the essentials of the craft from the lifting of the first curtain to the drawing of the final curtain. Also, when the playwrights make a point about motive, plot development, or dramatic conflict, they follow up their assertions with examples from established works extending back as far as Greek drama.

For those who write both plays and screenplays, this work is highly valuable in that the authors point out the basic differences of the two pursuits, and how some writers become trapped by confusing one with the other. The authors point out the difference between the visual medium of film with the reliance on a camera and cinematic effects alongside the on the scene visuality and focus on the well stated word that chracterizes the immediacy of a theatrical experience.

Downs and Wright devote extensive detail to the importance of plotting and characterization, providing road maps to keep the industrious writer on track. In addition, they provide play samples. This serves two excellent purposes: 1) reading how a well crafted play develops on the printed page; 2) demonstrating the proper editorial technique for writing a play so that improper form can be avoided, and the damaging recognition of technical presentation flaws by skilled theatrical readers.

This book sets out in specific terms the formula for a sucessful play with reasons and pitfalls of both ignoring and following the formula. It is ideally suited to classroom use and has an inclusive glossary. The examples plays used will spark discussion although I found them the least helpful portion of the book. It is clear and concise and as useful as any book can be in this area. The roles of protagonist, antagonist and inciting incident are explored not only in contemporary but historical terms and the lessons contained would benefit any writer of any type not just the beginning playwright. It is a book I will pick up over and over again while writing as a guide not only in the idea stage but final polishing. I highly recommend it as it is very readable and practical. It was used with great results in a playwrighting seminar I attended.

This is more than a history of iambic pentameter and a brilliant analysis of its use in the hands of its greatest practitioner, it should probably also be read as the best general introduction to prosody available. Truly general introductions may touch on more forms and offer a more complete view of English poetic history, but none out there (that I've seen, at least) are as perceptive as Wright and none of them, perhaps because of their general natures, elucidate so fully the possibilities of expressive variation and mimetic form in poetry the way Wright does in such minute detail. Chapters like "Lines with extra syllables," or "Lines with omitted syllables," or "Play of phrase and line" may at first glance promise only dry reading, and it's probably hard to believe that a 300-page book on iambic pentameter could be one of the best works of literary criticism you could ever read. But this is an analysis of at least half of what poetry is all about and, more importantly, the half most rarely talked about (most college professors don't even know how to). Digest this rich and beautifully written book with a handful of Shakespeare's plays (you won't be able to stay away from them after reading it anyway) and you'll be ready to tackle and analyze most any other poet with relative confidence for yourself.

George T. Wright's "Shakespeare's Metrical Art" is an introduction not only to the art of Iambic Pentameter as Shakespeare practiced it but also a starting point to an understanding the art of Iambic Pentameter itself. Mr. Wright argues that in Shakespeare the Iambic Pentameter meter found its greatest and most flexible practitioner. In appreciating the beauty of Shakespeare's artistry we also come to appreciate the intrinsic artistry and beaty of the meter. Mr. Wright's journey begins with Chaucer and Wyatt, the former being the earliest practitioner of the Iambic Pentameter line and also the greatest until Shakespeare. His reading of Chaucer's lines, as most often Iambic Pentameter, sometimes runs counter to accepted wisdom, yet, as with his conception of the meter itself, his argument is well-reasoned and convincing. More contraversial is his treatment of Wyatt's often inconsistent use of meter. Yet, here again, Wright offers the reader a plausible framework into which Wyatt's poetry becomes another expression of the meter's vitality and flexibility. From the further disintegration of the meter after Wyatt, Wright begins his treatment of Shakespeare's metrical art. Every facet of Shakespeare's flexible and imaginative use of the meter (his diversions from its strict course) is methodically examined and considered for its possible influence upon the meaning of the text. These diversions include Shakespeare's use of long and short lines, syllabic ambiguity, lines with extra syllables, lines with omitted syllables, trochees, false trochees and other such variations as are possible within the iambic pentameter meter. Wright rounds off the book with an all too short consideratiom of the meters use after Shakespeare -- including the writers Donne, Milton, and in passing twentieth writers Frost, Stevens, and Eliot. With Mr. Wright's contention that the Iambic Pentameter meter reached its zenith at Shakespeare's hands, his argument comes to the inevitable conclusion that Shakespeare's skill is one which later generations may echo, rarely equal, but never exceed. This is a book both for the lover of Shakespeare and the reader of poetry who wishes to better understand the art of one of the english language's greatest trimphs.

Ms. Wright, a renowned spiritual writer, has produced another fine book. She combines mysticism, spirituality, and theology to focus on Ordinary Time. We are not just marking time until the "big" seasons, we are journeying through the cycles of the liturgical year. All of her reflections are conflated with perspectives from her daily life in a beautiful erudite prose. Well worth it!

Wendy Wright employs her vast spiritual knowledge to develop a series of meditations on Ordinary Time. Each reflection is based either on a particular Feast Day (i.e. Corpus Christi, Trinity Sunday) or a period in Ordinary Time. These reflections conflate a variety of themes with personal insights spanning the history of mysticism with contemporary thought and spirituality. An excellent book to enjoy time and time again.

William Wright's charting of the life and sadnesses of the late Christina Onassis makes compulsive reading. A wealth of detail is coupled with a racy narrative style to produce a book that is for once, in that much overused phrase, unputdownable.

It would be easy to dismiss Christina as an empty-headed, affluent and cocooned woman. What Wright does is to shine a light into all the corners of this complex woman's life - her battles with the megalomaniac shipping tycoon who was her father, the war which ensued with Onassis's last wife the profligate Jackie Kennedy, her failed attempts at love and acceptance and the volatile dynamic that made up the Onassis clan - while allowing Christina to emerge as a vulnerable and very human figure and not the spoiled, hedonistic brat of popular acceptance.

A riveting read of unusual dimensions - the glitz and glamour more the habitat of Jackie Collins suffused with a bible-black Greek tragedy - a tragedy that was to cast its shadow across the entire Onassis dynasty and which threatens to darken Christina's daughter Athina, the richest little girl in the world.

This is for me, the definitive resource for anyone looking for clear and concise explanations on the new role for management.

Required to read Henry for my AP English Language class, I came into the play with a bias. I honestly felt that it would be a boring political play. I was utterly wrong! A huge fan of Shakespeare, I found Henry V to be a formidable match for the Bard's more critically acclaimed plays, such as Hamlet and Macbeth. Henry has it all! Shakespeare's attitude toward Henry the King is certainly one of admiration. By communicating the fact that an effective monarch must have a complete understanding of the common subjects (Pistol and Bardolph and Quickly), Shakespeare sets up Henry to be the ideal Christian king. The controlled language of Henry's speeches, particularly his response to the Dauphin's idiotic insult, also glorifies Henry. I certainly recommend this play to anyone, fan of Shakespeare or not.

Written by Shakespeare for Queen Elizabeth I amidst a time of Irish rebellion, Henry V more than adequately serves its intended purpose of galvanizing nationalistic fervor. It proved itself to be an unwavering and unfaltering impetus of patriotism in Shakespeare's day, during WWII, and still today it continues to resonate and reverberate this provocatively telling tale of the most gloriously revered monarch in English history.

Henry V's stirring orations prior to the victorious battles of Harfleur("Once more unto the breach") and Agincourt("We few, we happy few, we band of brothers") astonish and inspire me every time I read them. Simply amazing. Having read Henry IV Parts I&II beforehand, I was surprised Shakespeare failed to live up to his word in the Epilogue of Part II in which he promised to "continue the story, with Sir John in it." The continuing follies of the conniving Bardolph, Nym, & Pistol and their ignominious thieving prove to be somewhat of a depricating underplot which nevertheless proves to act as a succinct metaphor for King Harry's "taking" of France.

Powerful and vibrant, the character of Henry V evokes passion and unadulterated admiration through his incredible valor & strength of conviction in a time of utter despondency. It is this conviction and passion which transcends time, and moreover, the very pages that Shakespeare's words are written upon. I find it impossible to overstate the absolute and impregnable puissance of Henry V, a play which I undoubtedly rate as the obligatory cream of the crop of Shakespeare's Histories. I recommend reading Henry IV I&II prior to Henry V as well as viewing Kenneth Branagh's masterpiece film subsequent to reading the equally moving work.

On D-Day British officers read Henry's famous words to their men as they approached the beach. When Churchill needed material for his famous "Few" speech, his thoughts turned to the pages of Henry V. From "once more into the breach" to "we happy few, we band of brothers" this play resonates with Shakespeare's paen to England's warrior king. Oh, you'll be a bit confused at the start if you haven't read Henry IV parts 1 and 2, but this is primarily the story of Henry V's victory at Agincourt. Whether the play glorifies war or just Henry you will have to decide. There is much food for thought here for the perceptive reader. But then Shakespeare is always provocative.

this is shakespeare's most accessible comedy. it's a farce about mistaken identities among identical twins. nothing complicated here. the play has it's funny moments. it's not the bard's best comedy; that's 'much ado about nothing', imho. but this is not a bad place to start.

"Methinks you are my glass, and not my brother."
So says Dromio of Ephesus, one of the members of two sets of estranged twins whose lives become comically intertwined in this delightful, ingenious, & aptly named Comedy of Errors. Being an avid Shakespeare fan and reader, I unequivocally consider The Comdey of Errors to be Shakespeare's finest and funniest comedy. Antipholus of Syracuse and his long lost twin Antipholus of Ephesus along with the two twin servants Dromio of Ephesus and Syracuse become unceasingly mistaken for each other making for a hilarious and entertaining farce of a play.

The Comedy of Errors has been copied many times since in literature, movies, & sitcoms, although it has never been duplicated.

There is no doubt that this comedy of Shakespeare's is delightful, crazy fun. You could call it the father (or mother) of all sit-coms. The play is suitable for middle school production and viewing, with some modifications. For my students and myself I prefer the Folger's edition of Shakespeare's plays for three reasons. First, the footnotes are easy to read and across from the text. 2. The choice of illustrations and 3. The introductory information. When purchasing for my students, though I have tried other publishers, I now always choose Folgers.