What motivated a man trained in theology to uncover the theory of evolution? How did a shop owner's daughter become Prime Minister of a very chauvinistic nation? How did a man with a severe hearing problem invent the phonograph and the first sound movie camera? What prompted an 8th-grade dropout to unravel the technical mysteries of the catalytic engine? And why did somebody who 'could not write' turn into one of the most prolific and successful authors of our time? Luck, personal attributes, freaky experiences, timing, and a myriad of other factors can contribute to reaching the very top. But Dr. Gene N. Landrum expertly argues that 'talent is not nearly as important as indomitable will, IQ is not as important as a positive attitude, an Ivy League education is not as important as an inquisitive and imaginative mind, and money is not important at all.' The 'greats' have eight key behavioral traits critical to their success. Eight Keys to Greatness selects six diverse disciplines and those who achieved within them-the arts (Agatha Christie and Ernest Hemingway); business (Bill Gates and Helena Rubinstein); humanities (Mother Teresa and Martin Luther King Jr.); politics (Catherine the Great and Mao Tse-tung); science (Albert Einstein and Marie Curie); and sports (Michael Jordan and Babe Didrickson Zaharias)-to show that charisma, competitiveness, confidence, drive, intuition, rebellion, risk-taking, and tenacity led these celebrities to the top. Landrum includes biographical commentary on twenty-eight other visionaries, including Darwin, Marx, Twain, Freud, Edison, Margaret Mead, Walt Disney, Stephen King, Ted Turner, and Anne Rice, to back his findings drawn from hundreds of biographies, autobiographies, and related research. Are you capable of greatness? Yes, Landrum says, 'as long as you have slightly above average ability to grasp new concepts and have the internal will to pursue your dreams.' Eight Keys to Greatness inspires readers to learn by example.
'Like our best women writers (Joan Didion, Joyce Carol Oates), Owens is not afraid to take risks...Owens is a highly intelligent writer and a fiendishly sardonic one--to the extent that her outrageous wit rescues her freaky Jewish anti-heroine from becoming a pain in the Asphalt Jungle. On every page wisecracks explode like anti-personnel mines. We laugh, nervously perhaps, but often.' &#8212; Newsweek &#8220;One of the earliest portraits of the female antihero, a sort of distaff Notes From Underground. It was very funny&#8221; &#8212;Anatole Broyard, The New York Times &#8220;A very funny book by a exhilarating talent.&#8221; &#8212; The New York Times &#8220;&#8230;like watching a woman depilate with an acetylene touch.&#8221; &#8212;Newsweek &#8220;Good enough to have convulsed the late Oscar Levant, barbed, bitchy and hilariously sour.&#8221; &#8212;Kenneth Tynan &#8220;Spiky with mockery, carbon steel wit and mature observation.&#8221; &#8212; Village Voice &#8220;Owens, under the name of Harriet Daimler, was a prominent Parisian pornographer for Olympia Press&#8230;[who] as 'Harriet Daimler', became one of Girodias's most celebrated pornographers, someone who struggled 'against her impossible tendency to write more explicitly than the courts will tolerate&#8217;&#8221; &#8212; Bloomsbury Magazine &#8220;To characterize After Claude as the inevitable lightly veiled autobiography of a &#8216;first&#8217; novel is to deny Ms. Owens her due both as a savagely accurate reporter of the current Greenwich Village-Chelsea Hotel scene, and as a gallow humorist of major order. ..After Claude...is said, with biting verve and accuracy for New York that Mary McCarthy and her reliance on &#8216;facts&#8217; would well envy.&#8221; &#8212;Eleanor Rackow Widmer, Arts and Society 'Hilariously brutal...an addictive, prickly pear of a read.' &#8212;Skakespeare & Co Booksellers blog &#8220; After Claude is a very funny book saved from off-putting vulgarity by an exhilarating talent and intelligence...&#8221; &#8212;Leonard Michaels, The New York Times Book Review &#8220;Miss Owens has created a new kind of monster for your compassion. And isn't that, after all, one of the classical functions of contemporary fiction?&#8221; &#8212;Anatole Broyard, The New York Times 'Novels like Fear of Flying and After Claude created a fresh voice that made us want to laugh out loud, pass the book around, read funny bits to our friends.' &#8212;Morris Dickstein, The New York Times &#8220;Harriet tells her story like a female Lenny Bruce&#8230;while I was reading&#8230;I was laughing too hard to see the page.&#8221; &#8212;John Lahr, Women&#8217;s Wear Daily