"I'm Not Stiller," by the Swiss writer Max Frisch exudes postwar high seriousness; it cannot wait to show off its many layers of meaning. First, "A Note to the Reader" informs us that we are being permitted to study "The strange history of Anatol Ludwig Stiller, sculptor, husband, lover . . . prisoner": the notebooks he wrote while in prison and his prosecutor's postscript. Then come several august lines from Kirkegaard on man's passion for freedom: the need to "choose oneself," rule out every possibility of becoming something else and, in that difficult choice, find happiness. Then comes the voice of Stiller himself: treacherous, evasive and compelling as an Edgar Allan Poe murderer or a Raymond Chandler detective.

He is a prisoner in Switzerland (a country "so clean one can hardly breathe for hygiene") and the Swiss officers who arrest him are convinced he is a certain Anatol Stiller, who disappeared six years ago, leaving behind a wife, a mistress, a moderately successful career and a few minor political scandals. But he insists he is Jim White, an American with a past that includes Mexican peasants, Texas cowboys, the docks and back alleys of Northern California, and three murders, as yet untraced.

Murders are committed, as it turns out, but as Stiller is brought face to face with the woman who says she is his wife and with the prosecutor who says Stiller has had an affair with his wife, it becomes clear that the murders in question are emotional, metaphorical and discreetly bourgeois. What binds Stiller and his strong-willed but long-suffering wife, Julika? A vacuum: the fact that they have never felt happy together or complete apart. What sets his dream of being another man in motion? A failure of nerve while fighting the Fascists in the Spanish Civil War. And his homeland, economically secure, politically neutral Switzerland is "incapable of suffering in any way over a spiritual compromise," he says.

Mr. Frisch is not really a novelist of ideas; he's a dramatist of ideas. We live out our ideas through our daily lives, after all, and he grasps every nuance of those daily habits and compulsions. It is the tension between these details and the larger ambitions -- so grandly imagined, so absurdly lived out -- that makes the novel work.

For half of my life (i.e. for 18 years up to now), Max Frisch's "Stiller" - which I've read in German - has been my favorite book, closely followed by "Gantenbein" by the same author, and I'm sure it will keep so for the rest of my life. Why? Well, the "Stiller" is a very rich book with several themes and several "layers", so it has something for everyone. The book has a plot which is exiting in itself, but it has more. There are worked in, for example, some little "tales" which at first glance seem to stand quite apart from the rest of the story, but at closer inspection you might recognize them as little parables which illustrate the emotional background of Stiller who always writes about himself (whether directly or indirectly). The readers are left with the task to reconstruct the whole story by themselves, because all they get is limited and necessarily subjective information. This is due to the special situation the writer is in: he is expected to reveal his true identity to the Swiss authorities, who suspect him to be a long-missed citizen of their town and have arrested him to find out. So the matter of Truth is one of the central questions of the book, and the reader is invited to judge on whose side the truth is. Of course, it is not possible that there is more than one truth - or is it?

There are other existential questions the story deals with: trust, for example, or self-expectation, or the question of guilt in human relations. For those of you who are more interested in psychological highlights than in philosophical issues: the book contains superb descriptions of the Swiss mentality and the American style of life, of men and women and their differences, of architects and prison warders and so on. Max Frisch is a very clear-sighted, accurate observer, and even when he is describing in every detail the scenery of a deserted building site on Sunday, it's not boring for a second! The only thing I wonder is if the book is perhaps too European for a Non-European reader. But find out by yourself!

I THINK THE NOVEL IS MOVING, STIRRING AND PROVACATIVE. IT TOUCHES ON MANY DOMESTIC ISSUES THAT ARE PERHAPS HIDDEN IN THE HOMES OF THE WEALTHY.

Pinkney returns with a somewhat hackneyed attempt to draw a veil over the real problems facing a child growing up in the inner city with his latest effort - "Max Found Two Sticks". At no point does he elaborate on the fact that Max had to root around in a pile of used needles, empty glue tins and worn rubbers before he found said sticks. Sure, the tap-a-long rhythms are fun, for a while, but that's missing the point somewhat, as 15 minutes beating the bassline to House of Pain's seminal classic - "Jump Around" on the violin case of a sleeping busker does not a happy childhood make. Get with the program - buy your child a real drumkit instead. It'll keep them off the streets.

I have used this book for several years in my music classroom. I've used it to introduce percussion family, marching band,self-expression and creative compositions. The story itself is wonderfully done, but the illustrations make the book a treasure. My students ask to read this one during Read Aloud Week.

This beautifully illustrated book has a fun story pattern which makes it a great read aloud. Children enjoy predicting what will happen next.

This is a lack luster book. If you want to read a really great fictional story about the black dahlia case then read Ellroys The Black Dahlia. Collins should stick to Dick Tracy.

Max Allan Collins is as good as it gets when it comes to mysteries, and especially in his chosen genre -- true crime solved by his own fictional detective, Nathan Heller -- Collins is unbeatable. ANGEL IN BLACK is a haunting rendition of the Black Dahlia murder in L.A. -- a story I didn't know when I began reading the book. As usual, his research is impeccable (I've since done my own research on this) and his rendering of the people involved brings you straight into the heart of the story. His solution may not be correct, but it is compelling (and no one really knows, either -- the Black Dahlia murder remains officially unsolved). And like his other brilliant Heller stories -- STOLEN AWAY (the Lindbergh kidnapping), FLYING BLIND (Amelia Earhart disappearance), MAJIC MAN (Roswell, New Mexico UFO incident) ... you believe it and cannot help but be drawn in further. Don't miss this; it has its gruesome moments (which I know will automatically recommend it to some people) but it also has some marvelous characters and surprising relevations. Heller solves this one the way he does all his investigating -- he's tough, sexy and can't help but get involved. This one is a five-star winner.

Max Allan Collins is a sort of a Renaissance Man. He's an independent film-maker, scripted the Dick Tracy comics series for 16 years, and writes mystery novels (ten Shamus nominations, won twice). You wonder how he has time to breathe and eat, let alone make a life with a wife and son. Of these accomplishments, the mystery novel series is perhaps the best known. A dozen of the books are private eye novels with a main character who's a sort of guide to the crime world of the late 20's to the late 50's. This character is Nathan Heller, the half-Irish half-Jewish ex-cop who is friends with Capone, traded shots with Dillinger, and searched for Amelia Earhart and the Lindbergh baby. You have to be willing to accept that one person would be involved in this many different famous crimes of the century, but once you make this leap of faith, the books are wonderful evocations of life in the first half of the century, replete with characters and scenes that stay with you. The solutions to the real-life mysteries are well-researched and believable, and often the author has done original work that leads non-fiction writers to new sources and accounts of the crime in question.

The crime in question is the Black Dahlia murder case, in which an aspiring actress was tortured and murdered, the body being cut in half at the waist after death. Collins has to hook Heller in somehow, and as is often the case, his libido gets him involved: he had a short affair with the victim, Elizabeth Short. Coincidentally, Heller is in Los Angeles, and happens to be there when the body's discovered, and recognizes his former lover. Soon he's working for a local paper, doing background, and unofficially looking to find the killer himself. Admittedly, this beginning is a bit of a stretch, but if you read the series, you're used to this sort of thing and accept it. If you're not, just go with it, it's worth it.

Heller has an interesting problem, which is two-fold. First, he has the problem that if the L.A. cops figure out that he was having an affair with the victim, he might wind up a suspect, especially as he's in L.A. with his new wife, who wouldn't be amused by an old girlfriend. Second, and perhaps worse, he's the only cop on the case who thinks this killing might be something other than a bizarre sex-crime. The plot zips right along, with Heller crossing paths with Orson Wells, Mickey Cohen, and other famous figures from L.A. history, entertainment, press, and politics. There's even a cameo with Heller's old friends Barney Ross and Eliot Ness. The solution is something of a surprise, possible but a bit of a stretch, but fun none the less. I would highly recommend this book, with the caveat that if you haven't read the author's earlier book Butcher's Dozen, you're going to be a bit taken aback when the twist comes. I know I was, even though I'd read the previous book.

Here's a handy rule: always be wary of any person or institution who claims to have produced a list of "essential" items in any field. A case in point: "Sacred Fire: The QBR 100 Essential Black Books," by Max Rodriguez, Angeli R. Rasbury, and Carol Taylor. The book is a list of 100 books from the African Diaspora, each with a brief descriptive commentary. The book features a foreword by Charles Johnson. While informative to a degree, this list is, in my opinion, seriously flawed.

In his foreword, Johnson mocks other recent attempts to create "essential" lists. He complains, for example, of the "nervous tokenism" of the "100 Best English-Language Novels" list from the Modern Library. Ironically, such criticisms could also be applied to this book! How did they come up with the list? Rodriguez is fuzzy on that point in his intro. He notes that the list stems from a request, addressed to individuals, to name 10 Black books that had the greatest impact on them. Rodriguez claims, "We asked everyone," then immediately admits that such an absurd statement is false. But he does note that he asked his sister!

Most of the books chosen are indeed essential classics. But I found the list as a whole too "safe," unimaginative, and narrow of vision. Johnson acknowledges the omission of such writers as Samuel Delany and Rita Dove in his foreword. Books with an experimental, cutting edge quality seem to be absent. I was also dismayed by the failure to include many historic literary milestones by African-American women. Books by Black gay men that deal directly with the black gay experience are also largely absent. Black lesbians are represented by a token appearance by Audre Lorde (with her book "Sister Outsider"). A number of groundbreaking anthologies also fail to appear. And where are the Afro-Hispanic writers? Even the remarkable science fiction author Octavia Butler is solely represented by "Kindred" -- an excellent book, but probably the "safest" and most conventional choice from her incredible personal canon.

Just a few books I would add to an expanded edition: Adrienne Kennedy's "In One Act," an anthology of plays by this award-winning, boldly experimental pioneer of drama; Phillis Wheatley's "Poems on Various Subjects," an 18th century landmark in poetry; Harriet Jacobs' "Incidents in the Life of a Slave Girl," perhaps the most important autobiography by a 19th-century Black woman; "Nine Plays by Black Women," a stunning anthology edited by Margaret Wilkerson; and Ann Allen Shockley's "Loving Her," a novel which broke new ground for the portrayal of sexuality in the Black novel.

Also try Audre Lorde's poetic, moving "Zami"; Alexis De Veaux's "Don't Explain: A Song of Billie Holiday," an amazing biography told in poetic form; "Brother to Brother: New Writings by Black Gay Men," the anthology edited by Essex Hemphill; "A Puerto Rican in New York and Other Sketches," by Jesus Colon, who proudly claimed a Black Latino identity decades before it was politically correct; Anna Julia Cooper's "A Voice from the South," a pioneering collection of essays; "Home Girls: A Black Feminist Anthology," edited by Barbara Smith; Pat Parker's "Movement in Black," the rich poetic testament of an outspoken Black lesbian; and Samuel Delany's "Dhalgren," an enigmatic epic which extends the boundaries of both science fiction and the African-American novel. I could go on, but I'll quit here.

This book should be a part of the library of those who study black culture and history. It is an excellent guide to literature past and present. About ten years ago the Oakland Public Library published a list of the one hundred books that were classics. Supposedly by having read these books you would be considered well read. There were many I had read but people of color was sorely missing from this list. I am grateful that Max Rodrigues, who also puts out an excellent review of books by and about black people- QBR: The Black Book Review, published this great resource. Of course one can think of more books to be added to the list and in the publication last year readers were invited to add their own list of favorities. This book is a great referral tool and a timeless keepsake.

If your knowledge of black lit doesn't go beyond the latest Oprah pick, this book is essential. Although some of the picks can be argued, the short, opinonated summaries are fun to read and the list itself is a great guide to a year's worth of good reading.

Marguerite (Maya) has lived in Stamps, Arkansas for most of her life with her grandmother and out of the blue her father comes forward into her life. In this unexpected visit Maya and her brother are whisked to St. Louis to live with their mother. After awhile, Maya and her brother leave because her mother's boyfriend violates her. Time passes, and they are sent to California where Maya is shipped off to her father and his awful girlfriend. She finally runs away to a wrecking yard where she eventually goes back to her mother. After feeling "finished" with high school, Maya gets a job on the streetcars as the first African-American and some months later becomes pregnant.

I really enjoyed this book and somehow could relate to it, even though I'd never been through any of the same experiences. Maya Angelou has a distinct writing style with an intricate slow pace which I usually dislike although in this book her vocabulary painted a picture which kept me interested. Maya's life has been really hard and reading this now, I wonder how you can overcome all of what she has went through. Her life with her parents was a wreck and yet she still held herself together, probably because of living with her grandmother who helped instill morals, stability, and how the world really worked. It's a remarkable story and that's just what it appears at first. The moral of her life shows how will and determination cannot change your inborn character, that you become stronger through it.

While reading "...Caged Bird" I payed attention to Angelou's innovative writing style. She is of a new generation who dares to write about life as it really is. Instead of an autobiography that idealizes and candy-coats life, this book tells about life's embarassing and not-so-enjoyable details. I enjoyed this book. It was a fast and easy read. I would recommend it for older audiences (9th grade--on). Some of the content may not be appropriate for younger readers. Teachers: this book could be coupled with Mildred D. Taylor's "Roll of Thunder, Hear My Cry". It would be a great complement for authors like Langston Hughes, Gwendolyn Brooks, Zora Neal Hurston, Jean Toomer, Walter Dean Myers,James Baldwin... for a unit on Multicultural American literature. You could address topics like: racism, rape, relocating and its adjustments, teen pregnancy, parental roles, autobiography writing styles... I'm a 21-year-old female studying to be an Enlish teacher.

A quick review by Michelle A. Bejar.......I first read this book in my English class in the University I am currently attending. It became one of my favorites, that I will have in my own library of books. I know why the caged bird sings, is the biography about Maya Angelou herself, a book that helps understand the struggles of a little girl and her brother Bailey. They both had a hard life, living between Arkansas and California, but both overcame those issues in such a young age. Both children in their young age were not living with their parents due to the divorce, but rather were staying with their grandmother in Arkansas. The grandmother took on the father and mother figure for them, they later had begun to call her Mama too. After moving with their grandmother, the children were facing racial discrimination against them. I think that we can all learn from these issues to make life itself easier. Some readers might not realize this, but I feel that this book teaches us the hard facts about racial issues in life. In Maya's life racism was not the only issue she had to deal with. Once she moved back with her mother, she was raped by her mothers boyfriend at a young age. This is another way she shows the reader how she dealt with hard situations in her young life. I personally recommend this book to adolescent readers, it deals with issues that need to be learned at a young age. I feel that the book will help the majority of the readers to cross giant walls of cultures, race and people. It will help us to learn how to treat and learn about others who might not be the same way as we are. At the end, I think that it will strengthen the race relations between people for the better. In conclusion I would like to add that this book can be funny at time, but also heart breaking at other times. It is the genuine story of a girl, where at times we can relate too.