Had this been a collection of stories and essays by anybody else, I would have thought it was nothing special. But having read the Diary of Anne Frank first, the stories and essays make so much more sense. You can just see her whiling away the dull moments of the life in the secret annex, honing her writing skills. It is easy to see her skills as a writer increase from story to story. But even more interesting is to read the messages contained within her works. The writing skills she displays are obviously that of a teenager, although much better than most people her age. But the real value of these pieces are the insights which she brings to them; her life experiences and her approach to life's big questions. The last essay in the collection is entitled, "Why" and seems to sum up her short life. Read this book, but only after you read the Diary so the essays will be meaningful.

In her now famous Diary, Anne Frank said "I want to go on living even after my death". As of 1998, The Diary of Anne Frank had reached sales of 25 million copies and been translated into more than 50 languages. (source: TIME, October 5, 1998). It has been required classroom reading for half a century now! In a way, her wish has come to pass.
This subsequent publication "Tales From The Secret Annex" combines short stories, reminiscences/vignettes, and even an unfinished novel to show us yet another dimension to this remarkable person. Reading these stories and little essays confirmed my personal opinion that Anne Frank was a childhood genius with unlimited potential to achieve anything she would have set her mind to. It's hard to imagine this thirteen year old girl writing with such depth and perception, while living in seclusion, terror and fear for her life. She was writing from her heart, not with an expectation of being published. And yet these stories shine with a polished brilliance, and a certain unforgettable quality. I read this book for the first time 8 years ago, and have returned to it now, remembering the stories as though I had read them just last week. My favorite is entitled "Kathy". In three short pages, Anne captures every emotion experienced by a kid who is misunderstood by her mother, assaulted by schoolyard bullies who mock and rob her and cause her to lose the gift she was bringing home to her mother.

Here is how she ends her essay entitled "Give":
"If only our country and then Europe and finally the whole world would realize that people were really kindly disposed toward one another, that they are all equal and everything else is transitory!
Open your eyes... give of yourself, give as much as you can! And you can always, always give something, even if it is only kindness! No one has ever become poor from giving! If you do this, then in a few generations no one will need to pity the beggar children anymore, because they will not exist!
There is plenty of room for everyone in the world, enough money, riches, and beauty for all to share! God has made enough for everyone. Let us all begin by sharing it fairly." (written March 26, 1944).

Anne was sent to Bergen-Belsen, where some time during March 1945, she, her sister Margot and hundreds of other prisoners were stricken with typhus. Their captors, preoccupied with the advancing Allies, left them to die.
World... read her book!

These stories and essays are well-crafted, yet easy to read. There are lessons to be learned from each piece, and these lessons can be identified easily. But the themes and ideas remain in your head and leave you thinking long after you set the book down - thinking about Anne Frank's life in the Nazi-occupied Europe as well as her ideals. Anyone will discover some aspect of their persona mirrored in Frank's characters, whether it may be through Paula or Kathy or Eve or anyone else.

You should approach the book with an open mind and respect for the writing. If you see that Frank was an intelligent young human being, and not a little kid whose writing you can deal with condescendingly, read this book. Otherwise, skip it. This is honest, wise, well-crafted work, and it should be treated as such.

First, you have to understand it's not a biography. Actually the book's premise is summed up very well by the Sinatra quote on the dust jacket. "I think my real amibition is to pass on to others what I know. It took me a long, long time to learn what I now know, and I don't want that to die with me." I think this book does that very well using a series of ancedotes culled from Mr. Sinatra himself as well as others. It covers things such as the Las Vegas "Rat Pack" years, his style of dress, his code of conduct, his loyalty to friends. The book succeeds in what it was meant to do, but to get a real feel for the total man I'd suggest reading one of the many fine biographies that are out there. Whether you love or hate Frank Sinatra you'll have to admit he was a very complex man who lived life on his own terms. This book will give you some insights into what drove him to be the way he was.

What a GREAT book about the Chairman Of The Board! The text and pictures are first-rate,and the captions quoting Frank are priceless. An absolute must for the genuine Sinatra fan, you will pull it off the shelf to read it for years to come.

Zehme's book is a delight, a welcome change from the biotrash (Kitty Kelley) and a nice complement to the detailed music analyses (Will Friedwald and Charles Granata). For those of us who never met the man, you close the book feeling like you knew him. For those of us who live our lives by his music, it offers a great perspective on the man behind the songs. Even if the author writes for Esquire, this is less of style manual than a collection of anecdotes telling us how the Chairman did things with class. The world dressed better in the 1950s, and Sinatra STILL looks like the classiest guy around 50 years later (check out contemporary photos of his pals for a contrast!) You'll learn how to mix drinks, what color suit to wear at night (hint: forget about brown), how to manage your untold millions and how to date starlets.

Many of the excellent Phil Stern photographs have appeared elsewhere, but it is nicely illustrated book with some new (to me) photos.

Recommended as a fun read and the closest we'll ever come to spending an afternoon with the man.

I am in the middle of the 3rd book in the green mile series. I love the way stephen king wrote this book in a series. He leaves it hanging at the end of each book and leaves me wanting more. I am not typically a reader but this book is great.

Stephen King has produced some of the most suspenseful, entertaining, and provacative literature of our time. While King's books are inevitably horrifying on many different levels, they are also the most well-written, character-driven novels to ever grace the various bestseller lists. King's latest effort, The Green Mile serial novel, is no exception. The Green Mile is one of King's best stories -- an emotionally-charged work driven by suspense and intrigue. "Coffey on the Mile," the final installment, brings the story to an end with appropriate finality -- the most satisfying ending King has ever written! If for some reason or another you have never given Stephen King a try, pick up The Green Mile. You will NOT be disappointed

"Coffey on the Mile" is the longest book in the series (130+ pages), while the other five had averaged approximately 90 pages. In this sixth and final installment in The Green Mile serialization, the true identity of the twins' killer is revealed (though I won't give that away, because it's a shocker). Plus, the killer and Percy Wetmore (the evil prison guard), at last(!), get what they deserve. And as for John Coffey: well, that was just a tear-jerker. I won't give away what happens to him either. You just have to read the series--or just this book, if you want to skip the rest.

In the afterword, King points out some of his anachronisms in the series, like whether or not certain radio programs were broadcast in 1932. These "mistakes" were still left in the serial novel, as far as I can tell, even though King had considered removing them. But what was removed was this afterword, as well as the foreword in book #1 ("The Two Dead Girls"); so there were a few things altered by the end.

Well what can I say about this incredible book. This story started it all. It was a huge success when it was published in 1900 and an even bigger success today. While reading this book, you're sure to notice more than a few changes and omissions compared to the wonderful 1939 movie classic. Baum weaves us into his magic spell of imagination, excitement, and adventure as we land in Munchkin Country, walk to the Emerald City, battle a Wicked Witch in Winkie Country, and finally make our way to Quadling Country. Never has an assembly of so many fantastical characters come together than in THE WONDERFUL WIZARD OF OZ. Hailed as the FIRST true American fairy tale, it will bring hope, joy, and magic into every person's life from ages 2 to 92. Don't miss out on the book that brought you the 1939 movie. You will feel as one with Dorothy and Toto and sympathize with the plights of the Scarecrow, Tin Woodman, and Cowardly Lion. Don't forget to read Baum's other Oz books....he wrote more than one ya know!

"The Wizard of Oz" by L. Frank Baum is the book that started all the Oz mania! I've read this book many times and I love it! Dorothy Gale and her little black dog, Toto are whisked from Kansas by a cyclone where she ends up in a magical fairy land called Oz. She meets some interesting friends along the way such as the Scarecrow, Tin Man, and the Cowardly Lion. They face many adventures and dangers in this wonderful book. You may think "why read the book? I've seen the movie!" Well it's my all time favorite movie too but the book's better! Once you read it I'm sure you'll be hooked on Oz!

This story is about a girl named Dorothy. Dorothy had a dog called Toto and she lived in Kansas. One day a tornado came to Kansas and her house got in to it. When Dorothy woke up, she was in the Munchkin Land (land of little people.) On her way to Emerald City she met with some friends, Tin Woodman, Cowardly Lion, and the Scarecrow. Dorothy and her friends were going to the Emerald city to see the Oz. On her way to Emerald City, Dorothy and her friends got into a lots of trouble with Wicked Witch and other creapy stuffs. Dorothy, wanted to go back to Kansas, Lion, wanted to be brave, Scarecrow, wanted a brain, and the Tin Woodman, wanted a heart. If you want to know the end of this book, read it. I reccomend to all people with all ages. This is a great book!!

It so wonderful to read children's book like this one. It made a lot of sense why we are all different. Thank you Neil for this awesome story with great illustration too. My nephews and nieces wants to hear this story over and over again. I believe they have been touch also by the message of this book.
I can wait till there will be another children's book that can enlighten the little ones too. This book is not just for children it is also for adults. This is the kind of book you would love to read when you are facing with critism and redicule from others. It helps you overcome the feeling of despair and rise above it.Thank you NEIL for writing this book. Godblessing will be with and your family. Thank you for your contribution to this world. YOU helped very many to find themselves again.

I always cry and am so touched when I read this book to my child, my friends or even for myself. What a delightful way to show children "who we are". Thank you Neale.

I cannot say enough about this *wonderful* book! It is a book for everyone. I read in a review here that they thought that this book may be difficult for a child to understand. I believe children understand these concepts far easier than we adults do. I love this story and have bought many of them for friends, big and small!

What better testimonial can you give to a book than saying it makes you so fired about about its subject that you want to discover more of his/her work? Will Friedwald's Sinatra! The Song is You will delight Sinatra fans and "turn on" anyone even REMOTELY interested in finding out why Sinatra was named the 20th century's Best Singer. It is without question the best book EVER written on Sinatra's music due to its style, details and because Friedwald does not pull any punches: he praises Sinatra for good work and criticizes him for work that falls short. All this is done without pretension, cutesy-ness or padding. The usual personal and professional biographical info is there, but mostly for historical context. Friedwald's interest is in Sinatra the singer -- and in Sinatra's VOICE as an instrument that developed, matured and eventually (and sadly) deteriorated. Going through each performing and recording stage of Sinatra's long career, Friedwald analyzes particular songs, explains Sinatra's trailblazing role in creating thematic "concept" albums, and gives fascinating details on how and why certain classic arrangements and songs were cut in the studio. He praises and blasts Sinatra's various arrangers. What's unquestionable is that Sinatra took this kind of music to an entirely new level. This book successfully conveys the ARTISTRY of Sinatra's music so you WANT to hear MORE. Reading this book took me from a mild to fanatical Sinatra fan as I started listening to the albums, remembering what I had read and appreciating what Sinatra was doing with his voice. Sinatra! The Song is You heightens an appreciation of a musical genre that is either on it's way out as we move into the 21st century --or waiting for a new innovative artist to come along to revive its popularity and take it to the next level.

Will Friedwald has deservedly won great acclaim for this highly entertaining "dissertation" on Sinatra's music: his vocal technique and style changes through the years, his classic albums, and his arrangers and studio musicians. Friedwald guides us album by album, grouped by arrangers Axel Stordahl, Nelson Riddle, Gordon Jenkins, and Billy May. Other chapters discuss his big band years and his later years. Friedwald's taste in music closely parallels my own, and I am not surprised that he is also a big fan of other great vocalists such as June Christy, Mel Torme, Ella, Chris Connor, etc. He concentrates most importantly on the concept albums and the great tracks that aren't necessarily the "big hits," but are great achievements in popular song. His suggestions on what to avoid are almost always on the mark. I was amused by his descriptions of Don Costa's "elevator music" arrangements, and of poor Linda Ronstadt, who does not fare well in this book, as some incensed readers have pointed out (lighten up! ).

Friedwald has evidently interviewed hundreds of musicians associated with Sinatra in one way or another, and therein lies the greatest strength of this book. Some of his stories told by people who were there at the time are so memorable, I still chuckle when I think of them a year after I read the book. His description of the recording sessions for the Sinatra/Ellington album are a hoot. One wonders how this album is as good as it is. Also, Billy May seems like a fun character, and also a most modest fellow.

This is the only book about Sinatra's music that the serious listener should trust when collecting his albums. His descriptions of the classic 50s album Close to You are the only way I have of knowing what the album is like, since it is unbelievably out of print. Yet how many CDs have My Way on them? Also, I never would have known about the great torch song album She Shot Me Down (1981), inexplicably underrated and hard to find.

My only suggestion to Mr. Friedwald would be to think about the concept albums more as a whole, and how arrangers Jenkins and Riddle linked the songs together harmonically and (sometimes even) motivically. I think he will find this phenomenon in the Christy/Rugolo albums as well. Moreover, a careful listener can tell where deleted tracks were SUPPOSED to be, such as Everything Happens to Me in She Shot Me Down, The One I Love in No One Cares, and the Nearness of You in Nice'N'Easy. Big hint: Come Waltz With Me was NOT supposed to be the first track of All Alone (this would disrupt the two "bookends" of the album featuring the female vocalist), and the Nice'n'Easy album was most likely originally to be titled That Old Feeling.

A century from now, nobody will care about the controversies of Sinatra's life. But the music will live on, as sure as the sun will rise and set. With the possible exception of Louis Armstrong, the twentieth century produced no greater interpreter of song than Frank Sinatra. When I was a teenager, Sinatra was this old guy who sang about New York. I didn't pay attention; I was ignorant of the amazing career. As an adult, I happened upon a copy of "Songs for Swinging Lovers" in a used cd bin -- and that was all it took. I have been a Sinatra fanatic ever since, particularly of the music he produced from the mid-fifties to early sixties. Will Friedwald is quickly emerging as the foremost writer on jazz singing; his book "The Jazz Singers" opened up whole new vistas of music for me. But "Sinatra!" is his masterpiece. He goes through the entire musical career, from start to finish, and quite simply, puts down on paper every single relevant fact, from the composition to the recording to the reception. It's a tour-de-force of writing which I have read cover-to-cover at least four times since I bought it when it came out. My only complaint? Mr. Friedwald, when are you going to do the same for Satchmo himself, Louis Armstrong? Until then, I'll just have to read this book -- again. Buy "Sinatra!" immediately -- you won't regret it.

Poor Paul Pennyfeather! As the "hero" of Evelyn Waugh's first novel he is barely worth a cent and light as pillow stuffing. This flimsiness of character may cause concern unto lack of concern in the reader who wishes to strongly identify with the protagonist, but halfway through the book, Waugh's narrator assures us that Pennyfeather's hollowness is intentional:

"In fact, the whole of this book is really an account of the mysterious disappearance of Paul Pennyfeather, so that readers must not complain if the shadow which took his name does not amply fill the important part of hero for which he was originally cast."

Pennyfeather is someone who is acted upon more than he acts--perhaps it is better to say he is more sinned against than sinning--his story begins when he is attacked in an Oxford quad by a group of his snobbish bully classmates. They strip him naked from the waist down and before he knows it the university has expelled him for indecent behavior. He then loses his allowance and ends up teaching in a disreputable prep school in Wales where adventures continue to be inflicted upon him.

Waugh never allows Pennyfeather to defend himself, his satirical point being that an English gentleman wouldn't stoop to blame those who had wronged him, even if it means he goes to jail. After all, his irrepressible fellow teacher Grimes tells Paul, no matter how bad things get, there is "a blessed equity in the English social system that insures the public school man [public schools in England are actually private] against starvation." It's that social system that the young Waugh, twenty-five when this book was published, enjoys puffing up just to tear it down. Waugh maintains a light narrative touch though his subject matter is often serious and occasionally outrageous. He structures the book well and has a sharp appreciation for the absurdities of the English upper classes in the 1920s that is not inapplicable to many other time periods and cultures.

DECLINE AND FALL did not make me laugh as much as I thought it might. There are funnier English campus comedies out there, notably Kingsley Amis's LUCKY JIM and the first part of Waugh's own BRIDESHEAD REVISITED. Waugh was one of the twentieth century's great stylists, however, and I look forward to reading his second book, VILE BODIES.

More deadpan than hilarious, "Decline and Fall" is the story of Paul Pennyfeather, who seems not only to attract misfortune but to embrace it as his due. While depicting Pennyfeather's downward trajectory, Waugh skewers the pretensions and mocks the hypocrisy of every class of British society. Although I trust Waugh did not mean for the reader to sympathize with Pennyfeather, who is truly an apathetic oaf, I (ironically) found him surprisingly likable.

Blameless throughout, Pennyweather resignedly and almost eagerly accepts punishment for crimes committed by others. (In prison, he positively enjoys solitary confinement for its regimen and its lack of stress.) Some of Waugh's commentary is a bit pedestrian, especially to modern readers, but he occasionally and fearlessly tackles weighty and "scandalous" themes: the apostasy of the clergy ("modern churchmen who drew their pay without the necessity of the commitment to any religious belief"), the excesses of the prison reform movement ("So far as possible, I like the prisoners to carry on with their avocations in civilized life. What's this man's profession, officer?" "White Slave traffic, sir."), and societal attitudes towards an aristocratic lady who takes a black American lover (and her own patronizing posture). This last subplot, it must be said, makes uncomfortable reading, because the black character barely rises above stereotype, because Waugh unflinchingly uses racial epithet, and because ultimately the reader is not quite sure where Waugh is coming from.

Much of Waugh's satire is dated, but (like Candide) Paul Pennyweather is a virtuous nobody whose misadventures transcend time. The edition from Everyman Library also includes an astute introduction from the critic Frank Kermode, who provides useful background for the book instead of assuming you've already read it.

Waugh's first novel is an outrageous satire that pokes fun at the British class system, religion, and education. If one does not take it at all seriously, then it is a howlingly funny book. His "hero," Paul Pennyfeather, and the other characters float in and out of various kinds of trouble without seeming to learn a single thing. Best moment - the casual, but horrifying fate of poor little Lord Tangent. The amusing illustrations drawn by Waugh himself are a delightful bonus. I highly recommend this book and look forward to reading more of Waugh.

This new American dictionary from Oxford is fantastic. I have the American Hertitage that came out a few years ago and I was pleased with it--it was an up-to-date version of the dictionaries I've always had. But when I received this dictionary I was astounded. For the first time I'm using my dictionary for more than a simple spell check.

First of all, it lists the most common use of the word as the first definition. This seems so logical it's bizarre that other dictionaries don't do it. I no longer have to browse through archaic or niche uses of a word simply because they predate the most common. It creates a whole new level of clarity. On top of this, the pronunciation system is extremely easy to use and the layout is clean and straight forward. It has the feel of a classic (illustrations and drawings only when it informs a word, none of those do-dads, distractions, and unnecessary photos that make other dictionaries look cheap but the makers think will make it look more expensive.) The usage notes are excellent, and there are more new words in it than I've found anywhere else--must be the resources of the OED and Oxford's other power dictionaries that the American lexicographers have drawn on. I actually find myself opening this dictionary and simply browzing.

It's also great with American words. I was afraid that it would be a British dictionary with an American cover wrapped around it, but that's not the case. Look up words like "trunk" and "roundabout" and see what you get.

I do have one criticism, and it's about thumb indexing. I'm not sure other dictionaries have this problem, but the thumb indexing is way off in places because they make the notches equidistant from each other and some letters are larger than others. What's the point of providing a quick finder tool when it's not helpfull

Still, this dictionary is grand. The first American dictionary that has met my needs and made me realize that a good dictionary is the most amazing resource I've ever encountered.

The large size of the Oxford American Dictionary, the high-quality paper, illustrations, and font all present an aura that beckons the reader in. The logical arrangement of the senses and sub-senses are so much easier to use that this effort will surely set a new standard in dictionaries. The older format, that of plowing through numerous entries that are seemingly unconnected, is doomed to fall by the wayside, and not a moment too soon. Older dictionaries lack the intuitive usefulness developed by the team that assembled this most excellent dictionary. Having the Oxford English Dictionary, a Merriam-Webster, and an older Webster, there is no question for us that for day-to-day use, and for the times when one needs to more fully develop very specific idea, this work will become the one that most will rely on. Those who desire exactitude will be pleased, and those who are "looking" will be drawn in, perhaps farther than they intended to be. A superior product that is long, long overdue.

Overloaded with new vocabularies, it is no longer a matter of knowing all the words, but to know the slightest nuance distinguishing a word from its verbal brethren.

"The New Oxford American Dictionary" addresses the needs of today's word hunter, providing the reader which words are the 'core' words, so that the other words might not confuse the reader.

New dictionaries will always be important so long as our language is definitionally fluid. Meanings change.

I fully recommend "The New Oxford American Dictionary." Libraries will find it useful, of course, but the families which can afford it will also benefit from "The New Oxford American Dictionary" as well.

Anthony Trendl

I have been reading Walter Thomason's articles in the great gambling magazine The New Chance and Circumstance and I have always enjoyed what he has to say. I have always been cynical of progressive betting systems in general but this book had gotten such good publicity that I decided to read it. I'm glad I did. I have been playing basic strategy at blackjack for 20 years but I could never count cards as it gave me a headache. This four step progression of Mr. Thomason (used with his quit point strategy) has worked for me in my last 15 trips to Las Vegas. It is a much better way to play than just flat betting or increasing ones bet on a whim.

I just finished putting into practice the four step method that Walter Thomason explains in this book. I had great success with it. The book is very good. It is well written and explains in detail exactly what basic strategy players should do to get a better edge at the game. I think that real world blackjack is different from the computer world. The dealers I played with never thoroughly shuffled the cards and there were wild streaks on all shoes. When the streaks were going against me, I was usually at my lowest bet but when the streaks were going with me I had maximum money out. Thomason's system made a lot of sense when I saw it in action in a real casino.

The only way to get a mathematical edge at blackjack is to count cards. However, not everyone can do that. For those players who can't or don't want to count cards, Walter Thomason's book is the best on the market. It has a progressive betting system tht has been tested in real-world conditions, computer simulations and field tests. It will save you money and will give you a great chance to beat the casinos. This book is very well-written and it includes an introduction by Frank Scoblete, a very famous author who explains what makes Thomason's book so unique.

In my AP English Literature class, I had a choice of reading any novel of "literary merit" I wanted, and to complete a 25 page analysis of the novel. Of the four books I analyzed in this way this year, No-No Boy was by far my favorite. I am caucasian, yet have always been interested in the dark side of America's role in World War II - the Japanese internment camps. This book is a vivid portrayal of one young man's suffering due to his decision not to swear loyalty to a country that had foresaken his rights as a citizen, and the consequences that result from this decision. Okada deals with a very touchy subject in this novel, for both the white and Japanese-American communities. Ichiro's self-inflicted punishment helps the reader to realize just how awful this experience was for the real No-no boys. This realistic portrayal is rather ironic, since Okada himself chose to serve the United States loyally in the army during World War II. Perhaps this novel was written from the side of him that related more to his Japanese roots than to his newfound American identity, and the guilt he himself must have carried when serving in the Pacific, telling Japanese to surrender in their own language. Okada also deals with a seemingly untouchable issue - that of the discrimination the Japanese-Americans themselves practiced toward other U.S. citizens, although they faced discrimination themselves. This adds to the truthfulness of the novel. Perhaps the only disappointing aspect to the novel is the all-American, happy ending that seems a little too contrived, although it must have been necessary for Okada to write the novel this way in order to gain any readers, because the novel's subject was so controversial at the time it was written. This novel should be taught in high schools and universities across the country, in American literature courses, and not just Asian-American literature courses. Now, multicultural education movements have succeeded in gaining the teaching of more women and African-American writers' novel, but Asian-American literature has still been neglected. The tolerance and understanding that students will gain from reading this novel should be evident immediately after one has read No-No Boy, even though the novel is enjoyable and is hardly preachy-sounding.

John Okada's novel is one of the pioneering works of a growing field of American literature that shares the unique experiences of a group mostly neglected by mainstream America: Asian Americans. This category of literature, known as Asian American literature, seeks to expose the difficulty of finding identity that these Americans have faced because they don't fit in either the mainstream Caucasian American identity or the "model minority" (i.e. African American) identity that has been so prevalent in America, both past and present.
This story takes place during World War II: a terrible time for Japanese Americans, the subjects of this story. It shares the difficulty that a young Japanese American man named Ichiro faced when choosing not to fight for America, the country he always called his home. The two years in prison he spent for rejecting the draft was not nearly as painful as the difficulty of defining himself as an American. America is the country that, on one hand, is his home by birth and residence and, on the other hand, has punished his ethnic group via internment based solely on a distant place of origin. On his journey to find his identity he comes upon many characters, both Japanese Americans and others, that come to shape his perception of what it means to be an American. "No-No Boy" is a magnificent piece of Asian American literature.

It is sad that John Okada wrote only one novel in his life, but it gives me great joy just to mention this book to anyone. _No-No Boy_ is a novel that deals with the high emotions of those felt by Japanese Americans during the tumulous times of the second world war. It is a time when American citizens are incarcerated into "relocation centers" without any wrong doing except that their last names were Okada, Sone, and Ikeda. However, as John Okada traces the story of Kenji, a nisei who refused to answer yes to the loyalty questionaire, we do not feel any strong bitterness about the whole situation that could be all too common in such a text. This touching novel is ultimately about one's search for a home, for loyalty, and for acceptance into society. These themes, while prevalent in many Japanese American texts written about this time period, are universal and can be shared by anyone who has ever felt the pangs of loneliness associated with being an outcast. If anyone is interested in reading more about fiction, good fiction on these issues, there is no book I could recommend more highly than this one. John Okada's book is the ultimate in Asian American literature and should be required reading for all those who want to read more about American history and American literature