I’m Not Stiller is a complex literary work that defies singular categorization. At its core, the novel functions as a Bildungsroman, chronicling Stiller's journey toward self-discovery and maturity. However, its richness lies in its amalgamation of various literary styles. Echoing the romantic realism of Leo Tolstoy’s Anna Karenina, the narrative delves into the psychological intricacies of modern relationships, yet it transcends traditional realism through its innovative structure and technique, characteristic of late modernism.

The narrative structure of I’m Not Stiller is deliberately fragmented, presenting events in a non-linear fashion. This method allows for multiple perspectives and conflicting narratives. Stiller himself narrates the story of Rolf's marital discord as recounted to him by Rolf, and simultaneously shares his own experiences in the third person. This multifaceted storytelling approach provides varied viewpoints of the same events, often presenting discrepancies; notably, Sybelle and Rolf recount their final confrontation before Sybelle's departure to America with differing memories.

I’m Not Stiller employs a montage effect, reminiscent of modernist literature, blending dreams, fabrications, and eyewitness accounts into a cohesive narrative tapestry. The novel also anticipates postmodernist elements by introducing parody into its serious themes. Stiller’s escapades can be seen as a pastiche of Ernest Hemingway’s works. He participates in the Spanish Civil War, echoing For Whom the Bell Tolls; he engages in bullfighting, reminiscent of The Sun Also Rises; he falls for a nurse, evoking A Farewell to Arms; and he grapples with cowardice, drawing parallels with “The Short Happy Life of Francis Macomber.”

Moreover, Stiller epitomizes a parody of a Hemingway hero, yet he is ensnared in a world steeped in Kafkaesque absurdity. Here, the state's bureaucratic machinery endeavours to convince him that he is, in fact, himself through a rigorous trial that challenges his very identity. I’m Not Stiller is the work that cemented Max Frisch’s status as a significant literary figure not only in German-speaking regions but globally as well. The novel is a landmark in the postwar renaissance of the German novel, blending realism, modernism, and parody into a seamless and engaging narrative.