How many times can one man die? Surprisingly many, it turns out. Set in what is now the Xinjiang province of China, tensions between Muslims, Jews and Christians lead a series of inhabitants to frame their neighbours for a death; but will they listen to their consciences when the penalty for murder is hanging? A black comedy with a social message, this tale is unusual among the Arabian Nights for containing no magic, but a great deal of gallows humour and contemporary relevance. You won’t be sorry you stumbled upon "The Little Hunchback", the twenty-third of 34 tales in the classic Arabian Nights collection translated by Andrew Lang. A treasure-trove of timeless stories, the One Thousand and One Nights or Arabian Nights have been loved, imitated, and added to over many centuries. Similar to the fairy tales collected by the Brothers Grimm, the Arabian Nights are drawn from the folklore of India, Iran and the Middle East, and were collected in Arabic versions throughout the medieval period; others were added as recently as the eighteenth century. These stories of the exotic East have been popularised for new generations by film adaptations such as Disney’s Aladdin, starring Robin Williams and Gilbert Gottfried in 1992, and Will Smith in 2019, and Dreamworks’ Sinbad, starring Brad Pitt and Michelle Pfeiffer. They continue to inspire writers as varied as Salman Rushdie and Neil Gaiman, while numerous Bollywood and manga versions attest to their popularity around the world. These stories of magic, adventure and romance have shaped readers’ imaginations for generations, and are sure to be retold for years to come. This selection was translated by Andrew Lang from the French versions by Antoine Galland, who was the first to include the stories of Aladdin and Ali Baba. Born in Scotland in 1844, Lang was a scholar of ancient Greek, a journalist, historian, novelist and poet, and the author of 25 popular collections of fairy tales; his edition of the Arabian Nights’ Entertainment was published in 1898. He became a Fellow of the British Academy in 1906, and died in 1912.

The Little Hunchback Zia, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

As if it wasn’t enough that he was born with a hump, Zia is forced to beg on the streets of old Bethlehem. Everything he earns is taken away from him by the wicked woman who keeps him, and in return she beats him daily. Being a hunchback in biblical times is far from easy. Especially if you happen to be cursed with a gentle soul and a kind heart, like Zia. When the people see him in the streets they shout "Unclean, unclean!" until he hurries away. ‘The Little Hunchback Zia’ is a heartbreaking story of a small boy, born with deformity and orphaned, who must overcome many obstacles to change his life. The novel has the length of a fairytale and the depth of a classic work of fiction. Perfect as a bedtime story but brings to mind other classic titles such as ‘The Hunchback of Notre-Dame' by Victor Hugo and ‘Oliver Twist’ by Charles Dickens. Frances Hodgson Burnett was an English American playwright and author. Born in the UK in Manchester to a family of ironmongers, she later migrated to the United States where she would go on to write some of her most famous plays and novels. During the span of her career, Frances Hodgson Burnett wrote and published more than 53 novels, most of them for adults. However, she is perhaps best known for her work in children’s literature, including famous titles such as ‘The Little Princess’ (1905), ‘The Secret Garden’ (1911), and ‘Little Lord Fauntleroy’ (1886). Frances Hodgson Burnett is also known for her historical fiction, including acclaimed titles such as 'The Head of the House of Coombe' (1922) and its sequel, 'Robin' (1922). Burnett’s work has been adapted for film many times. The latest movie adaptation of ‘The Secret Garden’ was released in 2020, starring Colin Firth and Julie Walters.

“Entertaining. . . . practical, ghostly, and often very funny tales . . . including those by saints like Rumi as well as lay storytellers from Turkey and Persia.” —Publishers Weekly The stories in this book are drawn from the dozens of Sufi tales that Douglas-Klotz has enjoyed telling in his seminars over the past 20 years. Most of them appear in works of the classical Sufis, such as Rumi, Attar, or S’adi. To preserve some of the in-person feeling and bring the language up to date, he has given them his own improvised turns. “If you want to hear a good story but prefer to read it instead, then read Douglas-Klotz! He writes as if he’s sitting in your living room, invited over for afternoon tea to entertain you with some heart-pleasing, often humorous, yet soul-searching Sufi stories. His modernization of these old texts is gentle and mindful, yet unapologetic.” —Maryam Mafi, from the foreword

The fairy tales and legends of olden China have in common with the "Thousand and One Nights" an oriental glow and glitter of precious stones and gold and multicolored silks, an oriental wealth of fantastic and supernatural action. And yet they strike an exotic note distinct in itself. The seventy-three stories here presented after original sources, embracing "Nursery Fairy Tales," "Legends of the Gods," "Tales of Saints and Magicians," "Nature and Animal Tales," "Ghost Stories," "Historic Fairy Tales," and "Literary Fairy Tales," probably represent the most comprehensive and varied collection of oriental fairy tales ever made available for American readers. There is no child who will not enjoy their novel color, their fantastic beauty, their infinite variety of subject. Yet, like the "Arabian Nights," they will amply repay the attention of the older reader as well. Some are exquisitely poetic, such as "The Flower-Elves," "The Lady of the Moon" or "The Herd Boy and the Weaving Maiden"; others like "How Three Heroes Came By Their Deaths Because Of Two Peaches," carry us back dramatically and powerfully to the Chinese age of Chivalry. The summits of fantasy are scaled in the quasi-religious dramas of "The Ape Sun Wu Kung" and "Notscha," or the weird sorceries unfolded in "The Kindly Magician." Delightful ghost stories, with happy endings, such as "A Night on the Battlefield" and "The Ghost Who Was Foiled," are paralleled with such idyllic love-tales as that of "Rose of Evening," or such Lilliputian fancies as "The King of the Ants" and "The Little Hunting Dog." It is quite safe to say that these Chinese fairy tales will give equal pleasure to the old as well as the young. They have been retold simply, with no changes in style or expression beyond such details of presentation which differences between oriental and occidental viewpoints at times compel. It is the writer's hope that others may take as much pleasure in reading them as he did in their translation.

A retelling of the tale, set in medieval Paris, of Quasimodo, the hunchbacked bellringer of Notre Dame Cathedral, and his struggles to save the beautiful gypsy dancer Esmaralda from being unjustly executed.

A story about a hunchback bellringer in the Cathedral of Notre Dame during the reign of Louis XI who falls in love with a beautiful gypsy girl.

Photography has transformed the way we picture ourselves. Although photographs seem to "prove" our existence at a given point in time, they also demonstrate the impossibility of framing our multiple and fragmented selves. As Linda Haverty Rugg convincingly shows, photography's double take on self-image mirrors the concerns of autobiographers, who see the self as simultaneously divided (in observing/being) and unified by the autobiographical act. Rugg tracks photography's impact on the formation of self-image through the study of four literary autobiographers concerned with the transformative power of photography. Obsessed with self-image, Mark Twain and August Strindberg both attempted (unsuccessfully) to integrate photographs into their autobiographies. While Twain encouraged photographers, he was wary of fakery and kept a fierce watch on the distribution of his photographic image. Strindberg, believing that photographs had occult power, preferred to photograph himself. Because of their experiences under National Socialism, Walter Benjamin and Christa Wolf feared the dangerously objectifying power of photographs and omitted them from their autobiographical writings. Yet Benjamin used them in his photographic conception of history, which had its testing ground in his often-ignored Berliner Kindheit um 1900. And Christa Wolf's narrator in Patterns of Childhood attempts to reclaim her childhood from the Nazis by reconstructing mental images of lost family photographs. Confronted with multiple and conflicting images of themselves, all four of these writers are torn between the knowledge that texts, photographs, and indeed selves are haunted by undecidability and the desire for the returned glance of a single self.