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Ricardo sat at his desk, anxiously waiting for his teacher to hand back his math exam. He had studied for the test for weeks. After his last report card, Ricardo realized that he needed to work on his math grade. His older brother, Lorenzo, was a mathematics genius, and he helped Ricardo study for the test. The two spent many afternoons going over practice problems. Although he felt confident while taking the test, Ricardo was now second guessing every answer. He wondered if all the studying had helped his grade. The teacher put the test on Ricardo's desk. Ricardo flipped it over and saw that he'd earned an A! He smiled, happy with the result of his hard work. thor wanted to write a story in which the main character looks back on the events of his long, full life, which would be the best way to start this story?

Every novelist or short story writer has heard the question many times: “Where do you get your ideas?” The answer is always the same: from everywhere. Many aspiring writers believe they need to wait for a sudden flash of inspiration, but generating ideas is more of a process than an epiphany.

Pay attention.

Pay attention to what’s going on around you. Those snippets of conversation you overheard at dinner, the car you witnessed going the wrong way down the freeway during rush hour, the elderly man trudging down a dark alley calling the name Maryanne repeatedly, all could spark a story. Although some of the events you describe may be extraordinary, they don’t have to be. They just have to be interesting.

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