Zeitoun had picked up and dropped off friends and relatives at the station a handful of times over the years. Fronted by a lush lawn and palm trees, the Union Passenger Terminal had opened in 1954, an art deco-style building once aspiring to grandness but since overtaken by a certain grey municipal malaise. There was a whimsical candy-colored sculpture on the lawn that looked like a bunch of child’s toys glued together without reason or order. Why does the author include this description? to present Zeitoun as a New Orleans resident and family man to criticize the architectural choices in downtown New Orleans to illustrate the grim, military realities of post-Katrina New Orleans to show Zeitoun’s discomfort in the grand downtown area

i dont know

explanation:

how can i explain if i dont know the answer

1. this would be first person. it would be like "i walked home from school today" they are the narrator of the story and is a character as well.

2. first person because they used the word "i" in the quote.

3. i'm really not sure about this one i'm really sorry i never read it so i wouldn't know how to answer it. 

4. it would be character vs. society because everyone he meets there is always a conflict of some sort because he's stuck in his daydream.

5. it would be sadness at the loss of youth because the title itself tells us it's about age so it couldn't be about regret. and the tone just sounds sad, not angry. 

i hope this !

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