American Fiction short stories and novels entertain readers. One of the leading authors of Romanticism was 1) , who wrote mystery and detective short stories. This first detective story, 2) , had several testimonies, or 3) , from the people who heard something or saw something about the crime. To get good evidence, the clues have to be 4), or supported, by more than one person. Later, Scottish author 5) modeled his famous series Sherlock Holmes after these American detective stories.

In the category of fiction novels, for example, the first American fiction novel, 6) , was about morality issues. Additionally, the first African-American novelist was 7) , who wrote the novel, Clotel, about the problems of bi-racial women. Novels such as this have realistic conflicts and are called the 8) genre. More imaginative stories were like those of the author 9) , who wrote “Rip Van Winkle” and “The Legend of Sleepy Hollow.” Later on, the African-American artistic movement, the 10) arrived, which promoted racial 11) . However, during this time, due to industrialism and the world wars, the Modernism movement typically characterized an attitude of 12) . Yet, in America today, audiences have the opportunity to read stories from authors who come from all over the world and tell about different cultural experiences in the 13) genre.

can you copy and paste what selections you read? the answer is based off of that.

d understatement

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran