The book starts with a warning. "This book appears to contain a number of stories that do not necessarily occur at the same time." Then you get hints. It might contain more than one story, or it might be four stories, or then again, four parts of one story. "Careful inspection of both words and pictures is recommended." You will be a story detective, not unlike someone trying to solve a crime after the fact.

Each page is divided into four stories, each of which generally takes up one-fourth of the page. They are located in the same position relative to one another so you can keep the story thread you are following straight. Each has a title.

"Seeing Things" is about a boy taking his first train trip alone. After a long, mysterious delay, he arrives at a large station to be greeted by his parents. His mother sympathizes with his difficult journey.

"Problem Parents" relates how perfectly normal, hard-working parents return from commuting to work one night wearing costumes made out of newspapers. Soon, they have their children costumed this way too.

"A Waiting Game" shows a crowd of adults waiting for the commuter train on an outdoor platform. Pretty soon they get bored, and the fun begins.

"Udder Chaos" starts with a cow licking a man in a convict suit, and shows how cattle provide camouflage for themselves and everything around them.

An occasional element from one of the stories crosses over, and shows up in another story. From these tiny steps, you can begin to unravel the tangled plot.

The book earned the Caldecott Medal for the best illustrated children's book in 1991. I think this is outstandingly illustrated, even for a Caldecott winner. The images carry the story much more than the occasional words do. Without the fascinating visual display of the book's concept, there would be no story here that you could unravel.

Upon rereading, you and your child will grasp additional meaning in the images and words. This will give you a lot to talk and think about. As such, you will welcome this over all of the books where you read the same story in the same way, over ... and ... over ... and ... over ... again.

One of the most difficult things for a child to learn is how subjective perception is. I think this book is terrific for making that point, and helping to create an appreciation for clear communication. I suggest that every family with children purchase and regularly read this book.

After you have enjoyed this book many times, I suggest that you think about where else a partial story is presented. For example, you and your child might go to a train station or airport and watch the people. You could make up stories about what you see. Then, I suggest that you go up and interview the people to hear what they think their story is.

Find the harmony, under the muddied surface of subjective, unfocused perception!

And it gave me a sense of peace that I had not had before about being African-American. It helped me to come up with the most empowering responses to not only suttle racism from Euro-Americans, but also suttle responses to African-Americans who seem to be bound by expecting to just get by (who also believe that empowered African-Americans somehow owe them endless worthiness).

To me, even though this book is titled "Queen," it has many stories: politics; narcissism; racism; boys growing into manhood; belonging; the price of not having someone to verbalize your pains to; and, how whites turned their outrage over their motherland into what drove them to do the same to blacks, in this country.

During the entire time that I was reading these 2 books, as I conducted my day to day responsibilities, I felt like I had a secret weapon against being held back. And I saw things that I might not have seen before in what I could do to turn suttle racism into my opportunity to expect mutual respect between myself and my interlocutor.

I recommend this book, and "Roots" to any who is looking for a means to grow beyond your wildest expectations. You will cry with these stories, laugh, and feel every possible emotion, knowing that you are breathing new life into your life. vjudo@rmi.net. www.femcourage.com

Not only are the stories EXCELLENT, but I imensely enjoyed the author's commentary before and after each one.

And he makes his points, plots and story lines, with little vulgarity, which is becoming much too common in the latest Stephen King works.

Kudos and I will be hearing more.

While this collection does not contain all of Morrell's short fiction, it does contain all that I had read in other anthologies, most notably the powerhouse novella "Orance is for Anguish, Blue for Insanity," one of my all-time pieces of fiction, short or otherwise. I am a fan of author notes in collections, and Morrell doesn't disappoint. While he doesn't expound the way that, say, Harlan Ellison does, there are short notes before each store in addition to a Foreword and Afterword, and these add a texture to the book that I think makes your first read more enjoyable and increases the re-readability. Plus if you've already read a couple of these in anthologies it is nice to see the author's perspective instead of the anthology editor's perspective before the stories.

I read this during a particularly hot summer week and found it to be perfect for this setting...the stories are engrossing enough that I forgot about the heat, and a few times I caught a genuine bit of a chill! Anyone who enjoys dark stories or speculative fiction should give this great book a read.

An added bonus to this book is the foreward at the beginning of each story. Morrell discusses his development as a writer and shares with the reader his personal tales of triumph and tragedy: from his meeting with his idol, writer Stirling Silliphant, to the death of his teenage son to bone cancer. Each story seems to be weaved around an event that touched Morrell's life. This authenticity makes for a more eerie read. For example, "But at My Back I always Hear," is about a professor who is stalked by a female student infatuated with him. Morrell himself faced this dilemma while teaching at the University of Iowa. Other scary topics covered include an art historian who follows his subjects' break with reality and ultimate demise; an amateur writer who becomes a best-selling novelist with the help of a ghostly typewriter; and a high school football team that is victorious because the coach is dabbling in witchcraft and produces an evil good luck mascot.

Two of the stories in Black Evening won Best Novella, Horror Writers of America Award. One story was a nominee for this same award and one other story was a finalist for the World Fantasy Award. Morrell stated that the first piece of advice he received as a young writer was to write about what he feared most. Obviously he took that advice to heart and left us with some chilling entertainment.

The reader becomes engrossed in the lives of the people. Halberstam lets us in on their organization, their disagreements, affairs, loves, families, fears, hopes, failures and successes. Most amazingly, he contrasts the children's reaction to racism with that of their parents. The younger generation's frontal assault on the segregationist strongholds is truly amazing. The stories of the freedom riders is engrossing.

Not Halberstam's best book (that would be the Fifties) but pretty darn close.

In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.

An irate Mozartian

In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.

An irate Mozartian

Musically and dramatically, it is Mozart's greatest opera. From the striking Overture to the use of dark strings, trumpet and soaring flute passages, the individual arias which express intense emotions to the neverending theme that good triumphs over evil, the Magic Flute stands out as a great opera to begin with for newcomers and a favorite for old time opera fans.

In this recording, conductor Wolfgang Sawallisch leads the Bavarian State Orchestra in a highly effective, thoroughly dramatic and sentimental, full interpretation of Mozart's score. Tenor Peter Schreir as Tamino is exceptional, passionate in his aria "Dies Bildnis" (This portrait), and again as he plays his flute in "Wie Stark ist Nicht dein Zauberton" (How powerful is your music, magic flute), his individual lines in the ensembles and his duet with Pamina as they undergo the final trial of fire. Annelise Rothenberger, a sublime German lyric soprano, is moving in her portrayal of Pamina. She has her moments in this recording. Note how her high, melodic voice seems to come from nowhere as she confronts Sarastro and Tamino for the first time "Herr! Ich bin zwar Verbrecherin ! (Sir! I am the transgressor). Her aria "Ach Ich Fuhls" (O, I feel that happy days have passed) is the finest interpretation, full of pathos and a kind of melancholic madness, as well as her lines in her suicide attempt, finally, she is sublime as a strong woman ready to face trials with Tamino, especially striking when she sings the line "Tamino!".

Kurt Moll's Sarastro is without question the best. His voice is suited for God. So divine and sonorous and full of grace, his voice is especially noticeable in the aria "O Isis and Osiris " and "In deisen Heilen Hallen"( In these holy halls). Finally, and not to be missed, is Edda Moser's incredible interpretation of the Queen of the Night. You have not heard the true Queen of the Night, until you've heard Edda Moser. She has a Wagnerian intensity and neurosis in her lines, apt and effective for the role of a Queen bent on deception and the murder of her rival, Sarastro. Her aria "O Zittre Nicht, Mein Lieber Son" (O tremble not, beloved son" is full of lyric dramatic passages and coloratura at the end. The vengeance aria "Der Holle Rache Kocht Meine Herzen "(Hell's Anger Burns Within My Heart) is full of fire. The way she attacks the dramatic, powerful lines is out of this world and the high F's she escalates are unsurpassed.

Not that Jernigan is alone in his life of horror. There's a cast of characters that are barely functioning. Of course, Jernigan cannot stand them. He's going to do things his way and it's a way so unimaginable yet possible, it leaves you riveted.