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In a previous post I wrote about how it seems to me that Ozick was representing material and arguments from Melnick's recent book and Alvin H. Rosenfeld's essay on the popularization of Anne Frank. Ozick mentions these in her article but not to the extent of identifying what she is repeating or borrowing from each of these. So again, I fail to see exactly what is new in her piece. A question that I've been pondering is why the desire to turn Anne Frank's diary into a play? This desire originated with Meyer Levin, and I can see how he in a sense asked for so much heartache by proposing that project. Why is the "good sense" of turning the diary into a play taken for granted? Of course the diary would be received by a much larger audience as a play, but then it is no longer the diary much at all, is it? My point is not that the diary should not have been adapted for the stage, but that it is more difficult than Ozick or others suggest to determine where the line can be drawn between "good" and "bad" designs on and relations to "Anne Frank." Gary Weissman