The Arab world's greatest folk stories re-imagined by the acclaimed Lebanese novelist Hanan al-Shaykh, published to coincide with the world tour of a magnificent musical and theatrical production directed by Tim Supple

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“[A]n electric new translation . . . Each page is adorned with illustrations and photographs from other translations and adaptations of the tales, as well as a wonderfully detailed cascade of notes that illuminate the stories and their settings. . . . The most striking feature of the Arabic tales is their shifting registers—prose, rhymed prose, poetry—and Seale captures the movement between them beautifully.” —Yasmine Al-Sayyad, New Yorker A magnificent and richly illustrated volume—with a groundbreaking translation framed by new commentary and hundreds of images—of the most famous story collection of all time. A cornerstone of world literature and a monument to the power of storytelling, the Arabian Nights has inspired countless authors, from Charles Dickens and Edgar Allan Poe to Naguib Mahfouz, Clarice Lispector, and Angela Carter. Now, in this lavishly designed and illustrated edition of The Annotated Arabian Nights, the acclaimed literary historian Paulo Lemos Horta and the brilliant poet and translator Yasmine Seale present a splendid new selection of tales from the Nights, featuring treasured original stories as well as later additions including “Aladdin and the Wonderful Lamp” and “Ali Baba and the Forty Thieves,” and definitively bringing the Nights out of Victorian antiquarianism and into the twenty-first century. For centuries, readers have been haunted by the homicidal King Shahriyar, thrilled by gripping tales of Sinbad’s seafaring adventures, and held utterly, exquisitely captive by Shahrazad’s stories of passionate romances and otherworldly escapades. Yet for too long, the English-speaking world has relied on dated translations by Richard Burton, Edward Lane, and other nineteenth-century adventurers. Seale’s distinctly contemporary and lyrical translations break decisively with this masculine dynasty, finally stripping away the deliberate exoticism of Orientalist renderings while reclaiming the vitality and delight of the stories, as she works with equal skill in both Arabic and French. Included within are famous tales, from “The Story of Sinbad the Sailor” to “The Story of the Fisherman and the Jinni,” as well as lesser-known stories such as “The Story of Dalila the Crafty,” in which the cunning heroine takes readers into the everyday life of merchants and shopkeepers in a crowded metropolis, and “The Story of the Merchant and the Jinni,” an example of a ransom frame tale in which stories are exchanged to save a life. Grounded in the latest scholarship, The Annotated Arabian Nights also incorporates the Hanna Diyab stories, for centuries seen as French forgeries but now acknowledged, largely as a result of Horta’s pathbreaking research, as being firmly rooted in the Arabic narrative tradition. Horta not only takes us into the astonishing twists and turns of the stories’ evolution. He also offers comprehensive notes on just about everything readers need to know to appreciate the tales in context, and guides us through the origins of ghouls, jinn, and other supernatural elements that have always drawn in and delighted readers. Beautifully illustrated throughout with art from Europe and the Arab and Persian world, the latter often ignored in English-language editions, The Annotated Arabian Nights expands the visual dimensions of the stories, revealing how the Nights have always been—and still are—in dialogue with fine artists. With a poignant autobiographical foreword from best-selling novelist Omar El Akkad and an illuminating afterword on the Middle Eastern roots of Hanna Diyab’s tales from noted scholar Robert Irwin, Horta and Seale have created a stunning edition of the Arabian Nights that will enchant and inform both devoted and novice readers alike.

Notorious for the delight he took in tweaking the sexual taboos of the Victorian age-as well as the delight he took in the resulting shock of his bashful peers-British adventurer, linguist, and author CAPTAIN SIR RICHARD FRANCIS BURTON (1821-1890) is perhaps best remembered for his unexpurgated translation of the Eastern classic The One Thousand and One Nights, more famously known today as The Arabian Nights. Originating in Persian, Indian, and Arabic sources as far back as the ninth century AD, this collection of bawdy tales-which Burton was the first to bring to English readers in uncensored form-has exerted incalculable influence on modern literature. It represents one of the earliest examples of a framing story, as young Shahrazad, under threat of execution by the King, postpones her death by regaling him with these wildly entertaining stories over the course of 1,001 nights. The stories themselves feature early instances of sexual humor, satire and parody, murder mystery, horror, and even science fiction. Burton's annotated 16-volume collection, as infamous as it is important, was first published between 1885 and 1888, and remains an entertainingly naughty read. Volume X-which concludes Burton's initial publication of the tales-includes: [ "Ma'aruf the Cobbler and His Wife Fatimah" [ Burton's essays on the origins of the tales and other background material [ appendices and indexes [ and more.

Americans have always shown a fascination with the people, customs, and legends of the "East--witness the popularity of the stories of the Arabian Nights, the performances of Arab belly dancers and acrobats, the feats of turban-wearing vaudeville magicians, and even the antics of fez-topped Shriners. In this captivating volume, Susan Nance provides a social and cultural history of this highly popular genre of Easternized performance in America up to the Great Depression. According to Nance, these traditions reveal how a broad spectrum of Americans, including recent immigrants and impersonators, behaved as producers and consumers in a rapidly developing capitalist economy. In admiration of the Arabian Nights, people creatively reenacted Eastern life, but these performances were also demonstrations of Americans' own identities, Nance argues. The story of Aladdin, made suddenly rich by rubbing an old lamp, stood as a particularly apt metaphor for how consumer capitalism might benefit each person. The leisure, abundance, and contentment that many imagined were typical of Eastern life were the same characteristics used to define "the American dream." The recent success of Disney's Aladdin movies suggests that many Americans still welcome an interpretation of the East as a site of incredible riches, romance, and happy endings. This abundantly illustrated account is the first by a historian to explain why and how so many Americans sought out such cultural engagement with the Eastern world long before geopolitical concerns became paramount.