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The Annotated Arabian Nights: Tales from 1001 Nights
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.
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.
816 pages, Hardcover
Published November 16, 2021
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December 10, 2021
The Annotated Arabian Nights: Tales from 1001 Nights, translated by Yasmine Seale with an introduction and annotations by Paulo Lemos Horta, is a 700-page tome that is a visual and intellectual delight. The research is extensive, exploring the Arabian Nights from its beginnings; its translators; its various permutations and translations; its literary and artistic offshoots; and culminating with a selection of retellings. Its pages are adorned with the beautiful illustrations the stories have inspired throughout the centuries, including the enchanting illustrations of Edmund Dulac and the contemporary illustrations of Dia al-Azawi. This magnificent piece of scholarship includes a Foreword by Omar El Akkad, an Afterword by Robert Irwin, and an extensive bibliography.
The volume is in five parts: Part I is Tales from Arabic; Part II is Tales from French; Part III is Hanna Diyab Tales; Part IV is Translators of the Arabian Nights; and Part V is Retellings of Arabian Nights. Paulo Lemos Horta’s Introduction places the Nights in its historical, cultural, and social context; critiques previous translations; and explores its many iterations in art and theatre. His invaluable annotations appear on the margins of each page. These provide commentary, context, analysis, geographical locations, and explanations of the social and cultural mores of the time. They also include how a particular passage, theme, character, or event has re-surfaced in the work of subsequent authors and artists.
Yasmine Seale’s translation has a contemporary feel. She strips the tales of the archaism, exoticism, and Euro-centric lens of previous translations, which had claimed authenticity by presenting them as embodying the life and customs of the Arabs. Whereas Victorian translators routinely undercut female characters, Seale re-introduces strong female characters missing from previous translations. She captures the rhythm, ambiguity, irony, and spirit of the Arabic while giving voice to a Shahrazad who is intelligent, courageous, and a formidable warrior for justice. Shahrazad reminds us stories can be powerful transformational tools. Her use of storytelling to educate others and to fight oppression and injustice has inspired countless generations of storytellers to do the same.
The Annotated Arabian Nights is a remarkable piece of scholarship. The volume is a visual feast for the eyes and an inspiring feast for the mind. It should be savored slowly, allowing the eye and the mind to pause, linger, and treasure.
Very highly recommended.
My book reviews are also available at www.tamaraaghajaffar.com
The volume is in five parts: Part I is Tales from Arabic; Part II is Tales from French; Part III is Hanna Diyab Tales; Part IV is Translators of the Arabian Nights; and Part V is Retellings of Arabian Nights. Paulo Lemos Horta’s Introduction places the Nights in its historical, cultural, and social context; critiques previous translations; and explores its many iterations in art and theatre. His invaluable annotations appear on the margins of each page. These provide commentary, context, analysis, geographical locations, and explanations of the social and cultural mores of the time. They also include how a particular passage, theme, character, or event has re-surfaced in the work of subsequent authors and artists.
Yasmine Seale’s translation has a contemporary feel. She strips the tales of the archaism, exoticism, and Euro-centric lens of previous translations, which had claimed authenticity by presenting them as embodying the life and customs of the Arabs. Whereas Victorian translators routinely undercut female characters, Seale re-introduces strong female characters missing from previous translations. She captures the rhythm, ambiguity, irony, and spirit of the Arabic while giving voice to a Shahrazad who is intelligent, courageous, and a formidable warrior for justice. Shahrazad reminds us stories can be powerful transformational tools. Her use of storytelling to educate others and to fight oppression and injustice has inspired countless generations of storytellers to do the same.
The Annotated Arabian Nights is a remarkable piece of scholarship. The volume is a visual feast for the eyes and an inspiring feast for the mind. It should be savored slowly, allowing the eye and the mind to pause, linger, and treasure.
Very highly recommended.
My book reviews are also available at www.tamaraaghajaffar.com
January 8, 2023
5 stars! This is not a book you simply read once and forget about! This is a book you read and refer to again and again!
Over my life I have read a number of Arabian Nights collections. This is by far the best for a number of reasons. First of all this 733 page version is annotated with interesting cultural and historical information. It has gorgeous illustrations and photos. Also important is that it is a new translation from an native Arabic speaker. I was unaware until now that many of the racist and anti-Semitic parts of Arabian Nights were added by the previous European translators.
Another thing I was not aware of was that many European and North American scholars claim that the so called “orphan tales”, tales which were not part of the original Arabian Nights, ( Aladdin and the Wonderful Lamp, Sinbad the Sailor and Ali Baba were 40: Thieves being the most well known) were European in origin.
While it is true that these tales were added by the 18th century French author Antoine Galland, Galland received these tales by a Syrian merchant and story teller Hanna Diyab. Although he was acknowledged for his contributions, in the past it was not known the great extend to which Diab’s tales added to what we now know as the quintessential Arabian Nights tales. Through the studies of various folklorists mentioned in the book, it’s now known that these tales indeed stem from traditional Arabic folklore.
It’s wonderful and refreshing to read this new version which is free of the previous Orientalist trappings! My only critique is personal. Instead of including tales by Western authors who were influenced by Arabian Nights like Edgar Alan Poe and H.P. Lovecraft, I would have preferred to see more original tales. For example two of my favourites, Julnar of the Sea and Ali Shar and Zumurrud were not included.
Otherwise this is the perfect collection. If you have never read the Arabian Nights This is the one to read!
Over my life I have read a number of Arabian Nights collections. This is by far the best for a number of reasons. First of all this 733 page version is annotated with interesting cultural and historical information. It has gorgeous illustrations and photos. Also important is that it is a new translation from an native Arabic speaker. I was unaware until now that many of the racist and anti-Semitic parts of Arabian Nights were added by the previous European translators.
Another thing I was not aware of was that many European and North American scholars claim that the so called “orphan tales”, tales which were not part of the original Arabian Nights, ( Aladdin and the Wonderful Lamp, Sinbad the Sailor and Ali Baba were 40: Thieves being the most well known) were European in origin.
While it is true that these tales were added by the 18th century French author Antoine Galland, Galland received these tales by a Syrian merchant and story teller Hanna Diyab. Although he was acknowledged for his contributions, in the past it was not known the great extend to which Diab’s tales added to what we now know as the quintessential Arabian Nights tales. Through the studies of various folklorists mentioned in the book, it’s now known that these tales indeed stem from traditional Arabic folklore.
It’s wonderful and refreshing to read this new version which is free of the previous Orientalist trappings! My only critique is personal. Instead of including tales by Western authors who were influenced by Arabian Nights like Edgar Alan Poe and H.P. Lovecraft, I would have preferred to see more original tales. For example two of my favourites, Julnar of the Sea and Ali Shar and Zumurrud were not included.
Otherwise this is the perfect collection. If you have never read the Arabian Nights This is the one to read!
July 9, 2022
I can't say I read this cover to cover but I read a LOT of it and it's very exhaustive and well done, beautifully illustrated and laid out.
April 7, 2022
This is a good translation accompanied by some great editorial commentary...and also Robert Irwin being Robert Irwin. Unfortunately it's only a "best of" edition, but it does include a ton of information on the history of the Nights and on Hanna Diyab and the tales he related to Antoine Galland for his French reworking. The volume is lavishly illustrated with paintings, movie posters, photography, woodcuts, etc., and worth checking out for the art alone -- some of which appeared in editions of the Nights a couple of centuries ago while others are modern works.
At the end I was upset that it was over and went to borrow the Lyons translation, which is 3 volumes long. So far, it's an interesting comparison. Seale's translation foregrounds women in a satisfying way, which is why Burton's female erasure never really appealed to me. To be fair, I've never read all the stories, only bits and pieces over the years. I don't yet know enough to make comparisons, but I enjoyed Seale's translation and found Horta's introduction and notes to be a trove of relevant background.
And, you know, a reader wanting MORE at the end of a volume of selected works is probably a good sign.
At the end I was upset that it was over and went to borrow the Lyons translation, which is 3 volumes long. So far, it's an interesting comparison. Seale's translation foregrounds women in a satisfying way, which is why Burton's female erasure never really appealed to me. To be fair, I've never read all the stories, only bits and pieces over the years. I don't yet know enough to make comparisons, but I enjoyed Seale's translation and found Horta's introduction and notes to be a trove of relevant background.
And, you know, a reader wanting MORE at the end of a volume of selected works is probably a good sign.
April 4, 2022
This is a scholarly work, and not simply a collection of translated tales. As such, I found some of the introductions and annotations more detailed than I wanted, but it was wonderful to have the option of diving deeper, and learning more about this collection. As the included tales were part of a centuries-old oral tradition, there are many different versions of the tales, and the different translators incorporated their own nationalities, knowledge and biases into their works. This attempt to bypass some of the early European translators' biases, combined with the annotations gave a really nice foundation for understanding the tales as they might originally have been told, while also appreciating how they have influenced western literature and art. This was an excellent work to be read in an e-book format, since one can click on the notations, and read any of interest, easily returning to the main text to continue reading.
As a result of his wife's infidelity, King Shahriyar has vowed to wed a different woman every day, and kill her the following morning. As the women of the city are selected and brutally killed every day, the Vizier's daughter, Shahrazad volunteers to marry the king with the determination to stay alive and to save her countrywomen. Each night she tells her husband a wonderful tale, leaving him hanging when dawn comes, and agreeing to keep her alive one more day in order to hear the conclusion of one story or an even more incredible story the next night. This sets up the structure of the collection of tales within the outer sheIl story (and there are tales within many of these tales as well)! Since there is no single printed work, tales have been added and modified over centuries. They have been adapted for performances and poems, and incorporated into modern literary works. I was astounded by the number of familiar contemporary works that harken back to these Middle Eastern stories.
This was not all easy reading, but I really loved these more accurate and detailed versions of the sotories I though I knew, as well as the many stories with which I was not familiar. It was a refreshing change from my usual reads, and I'd recommend the book either for the folk tales alone, or for a deeper insight into their origins and influences.
I was drawn to read this after watching the following live reading and discussion of the book, hosted by the New York Public Library: https://www.nypl.org/events/programs/...
As a result of his wife's infidelity, King Shahriyar has vowed to wed a different woman every day, and kill her the following morning. As the women of the city are selected and brutally killed every day, the Vizier's daughter, Shahrazad volunteers to marry the king with the determination to stay alive and to save her countrywomen. Each night she tells her husband a wonderful tale, leaving him hanging when dawn comes, and agreeing to keep her alive one more day in order to hear the conclusion of one story or an even more incredible story the next night. This sets up the structure of the collection of tales within the outer sheIl story (and there are tales within many of these tales as well)! Since there is no single printed work, tales have been added and modified over centuries. They have been adapted for performances and poems, and incorporated into modern literary works. I was astounded by the number of familiar contemporary works that harken back to these Middle Eastern stories.
This was not all easy reading, but I really loved these more accurate and detailed versions of the sotories I though I knew, as well as the many stories with which I was not familiar. It was a refreshing change from my usual reads, and I'd recommend the book either for the folk tales alone, or for a deeper insight into their origins and influences.
I was drawn to read this after watching the following live reading and discussion of the book, hosted by the New York Public Library: https://www.nypl.org/events/programs/...
November 3, 2024
Epic edition, worth every single penny. Don't think I posses a more beautiful and carefully edited book. Just breathtaking.
As for the stories, I liked the non-Galland ones better, with a preference for The Porter and the Three Women of Baghdad
Also please give me 5 minutes with Yasmin Seale like. I think we'd have an interesting conversation
As for the stories, I liked the non-Galland ones better, with a preference for The Porter and the Three Women of Baghdad
Also please give me 5 minutes with Yasmin Seale like. I think we'd have an interesting conversation
December 20, 2025
This is a gorgeous edition. The layout is perfect, the illustrations copious and beautiful, the translation fine, commentary solid, and the addenda on Hanna Diyab, various translators and their versions, and the related texts, are all for the most part quite interesting. My only small beef is the omission of the "Hunchback" cycle of tales from the older part of the collection. To make it perfect I might have envisioned a two-volume set, the first with the tales, and a second smaller volume with the addenda, thus a single beautiful edition for the casual reader and a second volume aimed at the scholar or completist. Still, it's well worth the investment as is as there is as yet no single translation of the conglomerate tales of all of the traditions that have come to create the overall collection's reputation. At any rate, this edition, unlike my old Lane translation, explained the various editions, the Hanna Diyab stories added to Galland's French edition, and gives one a nice sampling of them all, so perfect for where I am with the text at this point--and I'm sure my students will enjoy these translations more than Lane's so will be switching them in for the Spring semester of my world literature course.
February 9, 2023
I am SHOCKED that I never read any of the Arabian Nights either as an undergraduate or graduate English student. The impact that this collection of stories had on literature after 1709 simply cannot be overstated. After starting this, I started seeing Arabian Nights references popping up everywhere.
This new version is masterfully translated by Yasmine Seale. The annotations are great to deepen the stories, and the edition includes lots and lots and lots of art prints inspired by the Nights. This is a hefty read (hence it taking me nearly a year to finish), but well worth it.
This new version is masterfully translated by Yasmine Seale. The annotations are great to deepen the stories, and the edition includes lots and lots and lots of art prints inspired by the Nights. This is a hefty read (hence it taking me nearly a year to finish), but well worth it.
March 26, 2025
One star off for terrible annotations.
July 31, 2024
Found this by coincidence while browsing a bookstore, and I’m so pleased that this included in depth comparisons of Hanna Diyab’s storytelling compared to Galland’s filtered writing. I’ve been struggling to find books that conduct some proper research on this exact topic and this did it beautifully. We need more accounts about Diyab’s involvement in the Arabian Nights.
September 22, 2023
Meh. No fault of the translator, but it turns out that tales to astonish and delight medieval Arab audiences just don’t do much for me.
It was interesting to learn that most of the famous “Arabian Nights” stories were actually added by the first French translator in the early 1700s, after he heard them from a young Syrian friend. Aladdin, Sinbad, the flying carpet and “open, sesame!” all came from the Syrian storyteller and don’t appear in historical manuscripts of the “1001 Nights”. These stories, which are the most appealing to modern audiences, are also (probably) a lot younger than the core stories. Maybe the worldview and mindset of medieval Baghdad and Cairo are too alien to resonate with most 21st century readers, but 18th century Syria-filtered-through-France is still within comprehension.
It was interesting to learn that most of the famous “Arabian Nights” stories were actually added by the first French translator in the early 1700s, after he heard them from a young Syrian friend. Aladdin, Sinbad, the flying carpet and “open, sesame!” all came from the Syrian storyteller and don’t appear in historical manuscripts of the “1001 Nights”. These stories, which are the most appealing to modern audiences, are also (probably) a lot younger than the core stories. Maybe the worldview and mindset of medieval Baghdad and Cairo are too alien to resonate with most 21st century readers, but 18th century Syria-filtered-through-France is still within comprehension.
November 5, 2023
Imprescindible si estás interesado en el tema de los cuentos, las fábulas y demás narraciones fantásticas. Además esta edición intenta llegar al origen de un libro que aparte de 1001 noches tiene 1001 versiones. De nuevo digo que si el lector tiene ya de antemano interés en el libro, averiguar las fuentes y las reescrituras de cada relato le gustará y es un buen ejercicio para quitarse la idea de que occidente es el ombligo del mundo. Y si por otra parte lo único que buscas son las historias, aquí tienes magia, vino, sexo y muerte para estar un buen rato entretenido.
February 25, 2024
I understand this is a translated version of great historical literature but I don’t find these stories good. They’re incredibly repetitive. Maybe in a time when there was nothing else it would have been magnificent to sit and listen to these be told. Now there is so much better writings that aren’t sexist or repetitive.
September 10, 2023
I read it in its entirety. What a beast! Endlessly fascinating in all there is to be learned about ancient and medieval Persia, Egypt and Mesopotamia through the lens of the early 16th century French then in turn through a modern lens. Translator Seale attempts to account for misogyny, racism and homophobia that existed (and still does of course in different forms and degrees) not in altering the stories but through the hundreds of annotations and through her writing itself. Many fascinating connections to nearly every author you can think of are found in the notations, finding parallels and links to many different parts of modern culture and every time period in between now and the original oral birth of these stories, also looking at how they changed as the stories have travelled around the world from story teller to story teller. The mark these tales (which in end relate most to what I consider a “fairy tale” from a western perspective) have had on our culture and literature is very clear and is much more important than I ever would have recognized before reading this. Spoiler/warning: there are ALOT of djinns and people changing into animals, magic items, magicians, deception, and random uncelebrated death. I guess that’s kind of what I expected; your head begins to spin trying to track it all at a certain point though. At least mine did.
Also of note is the exhaustive and Impressive collection of art used the book which assists in looking at the stories from all the different perspectives and times in which they were recounted.
Also of note is the exhaustive and Impressive collection of art used the book which assists in looking at the stories from all the different perspectives and times in which they were recounted.
January 4, 2025
Incredible catalogue of the texts, its translations, retellings, artwork it produced and every conceivable after life these takes have lived. Extensive notes, bios, and commentary make this collection truly a remarkable resource
January 17, 2022
(Review edited 1/17/22) This is a gorgeous book — beautiful pages, well laid out, and a very readable translation. There are long sections I want to read aloud, for the sheer delight of the story telling.
I'm setting it aside and marking it as "Read," though I'm only halfway through because for me it's a book not to read all at once, but to dip into from time to time for a long time to come. A delight to read.
I'm setting it aside and marking it as "Read," though I'm only halfway through because for me it's a book not to read all at once, but to dip into from time to time for a long time to come. A delight to read.
October 15, 2022
Gorgeous illustrations, the abundance of annotations, and you know what? A lot of stories came back to me while reading. Probably the Polish editions I read in childhood were either translated from Galland's version or shared the source material because the tales' order and the content feel familiar? I remember I loved to sneak out from the kitchen at my uncle's place to read his copy whenever we were visiting him and his family.
Indeed, Yasmine Seale's translation is a joy to read, so gripping that sometimes I couldn't put it away. Though a true unsung hero of "One thousand and one night" is Hanna Diyab, a Syrian, who by history's ominous design, never left the shadow of Galland. If not for him, the world would have never heard of such tales as Ali Baba, Aladdin, or "Prince Ahmed and Peri Banu". Actually, had I not read this edition, I would have never known of this Syrian storyteller.
On the con side, I hoped for a complete edition full of erotic glory that a few Arabic versions are rumored to possess. Everything that this publication isn't, but I still had fun.
Indeed, Yasmine Seale's translation is a joy to read, so gripping that sometimes I couldn't put it away. Though a true unsung hero of "One thousand and one night" is Hanna Diyab, a Syrian, who by history's ominous design, never left the shadow of Galland. If not for him, the world would have never heard of such tales as Ali Baba, Aladdin, or "Prince Ahmed and Peri Banu". Actually, had I not read this edition, I would have never known of this Syrian storyteller.
On the con side, I hoped for a complete edition full of erotic glory that a few Arabic versions are rumored to possess. Everything that this publication isn't, but I still had fun.
January 7, 2023
Very sexist
January 15, 2025
So I didn't technically finish this but what a great resource to look at translations of the original text and also learn the history of these stories!
August 24, 2023
Wow! This gorgeous edition of One Thousand and One Nights really blew me away! In selecting a translator fluent in French and Arabic, Horta found the key to producing an edition sensitive to the poetry, rhythm, and musicality of the languages and collaboration between Hanna Diyab, Antoine Galland, Paul Lucas, and the source texts and oral traditions combined in a unique mélange to create the tales of the Arabian Nights. This book contains beautiful artwork inspired by the Nights tales, but it is also a serious work of scholarship—well-researched and sourced, with a wealth of footnotes that enhance the reader’s understanding of context, meaning, and alternate traditions that inevitably exist with a story produced at a cultural crossroads in a distant past we are still seeking to uncover. But this is in no way a dry, dense read. While the serious student of folklore and literature will find this an incredibly meaningful contribution to the body of extant scholarship, even the most casual reader will find the stories compelling, accessible, and entertaining. Seale’s deft touch allows all the magic, mystery, and sensuality of the Arabian Nights to shine through, and her truly gifted poetry elevates the text with drama and emotion in all the right moments. The separation of the text into sections based on the origin of the tales provides an interesting framework for comparison and contrast for the tales, and the editor’s (very) short introduction to each story provides helpful background information. The addition of examples of a few short works inspired by the Arabian Nights provides an excellent start for readers interested in pursuing further the influence of the Nights on western literature, and there is additional information about the most influential translations thus far From those looking for glossy, sophisticated, and attractive coffee table books to scholars of Near Eastern literature to adults with an interest in reading the stories that have been such an integral part of modern culture, this edition of One Thousand and One Nights will be a great addition to everyone’s personal library.
March 27, 2025
What a journey. I was going to give this a 4 because of the presentation, because there's no generosity in giving less than a 5 to stories of this stature, even if the most recognizable of them have been beaten into the ground, dug up, and cannibalized by ghoulish corporate vermin. I was enthralled by the first set of stories, which appear to have little traceable origin. They're fantastic. The second set of stories, where you'll find more of that corporate inauthenticity, are considered embellished by Western influence. There are many reasons and false reasons I was predisposed to dislike this second set, but I don't think you can deny they have a staler flavor, and I was angry at having been made to read them. Later in the book, presented with 18th century note fragments from which the second set was generated, I wished upon Solomon's Key I could have skipped the final Galland "stories" and just read his precursor notes. It would be weird I guess to reverse that order, but if there is an edition of these tales that does that with intentionality, I might actually give it a shot.
But I came back to a 5 because of the extras. There is a set of short fictions by Dickens ('A Christmas Tree'), Rossetti ('Goblin Market'), Poe (''The Thousand-and-Second Tale of Scherazade'), Lovecraft ('The Nameless City'), and O. Henry ('A Madison Square Arabian Night') that demonstrate the power of these tales in a way that makes one weep. I suppose it's this devotion to formative tales that suggests an exit from the Ivory Tower/Glower, but of course, once you've been up there, you forget the magic words that reveal the exit. These fictions are followed by a quick tour of the scholarship, the provenance of many of these tales. The context and questions from this section were important to me. Turns out there is a perhaps antiquated school of thought tracing many of these stories back to a Buddhist origin. While I'm not sure what I think of that, I find it illuminating to view these stories, and maybe all stories, as reincarnations of past stories, stories who continually decide to be bodhisattva, remaining with us here on Earth and postponing their arrival in the Pure Land. Sorry, too much The White Lotus I guess.
But I came back to a 5 because of the extras. There is a set of short fictions by Dickens ('A Christmas Tree'), Rossetti ('Goblin Market'), Poe (''The Thousand-and-Second Tale of Scherazade'), Lovecraft ('The Nameless City'), and O. Henry ('A Madison Square Arabian Night') that demonstrate the power of these tales in a way that makes one weep. I suppose it's this devotion to formative tales that suggests an exit from the Ivory Tower/Glower, but of course, once you've been up there, you forget the magic words that reveal the exit. These fictions are followed by a quick tour of the scholarship, the provenance of many of these tales. The context and questions from this section were important to me. Turns out there is a perhaps antiquated school of thought tracing many of these stories back to a Buddhist origin. While I'm not sure what I think of that, I find it illuminating to view these stories, and maybe all stories, as reincarnations of past stories, stories who continually decide to be bodhisattva, remaining with us here on Earth and postponing their arrival in the Pure Land. Sorry, too much The White Lotus I guess.
August 23, 2022
This is a nicely illustrated and annotated compendium of the Arabian Nights, centered around the French translation by Antoine Galland in the early 18th century. There is a lot of discussion of what makes up the corpus, as the various translations have presented various tales. This one is centered on Galland and his incorporation of stories from the Aleppo trader Hanna Diyab, documented in Diyab's memoir that was recently discovered in the Vatican Library.
All the expected tales are here, from Sinbad to Ali Baba and the fairy Pari Banu. The annotated comments make it plain that Galland added details and morals that would resonate with the French court of his day. The case is also made that these tales are clearly oriented towards an audience that comprises the merchant class, what would be called the bourgeoisie in the Western world. (For instance, Sinbad and Ali Baba are both traders and merchants; Sinbad didn't sail the boat, merely accompanied his goods on it.)
Women play an interesting role in the tales. While there are some eroticized portrayals, there are many women who are wiser and craftier than the men, perhaps serving as examples for Shahrazad (as it is spelled in this book) to change the mind of the king who always threatens to kill her each day.
The book has sections that serve as appendices which recount some of Diyab's tales that Galland didn't include, and a discussion of the various translators of the Nights.
I especially enjoyed the illustrations from all the different artists through the ages who added their visual interpretations of the tales. The representations of the jinn were particularly enjoyable.
All the expected tales are here, from Sinbad to Ali Baba and the fairy Pari Banu. The annotated comments make it plain that Galland added details and morals that would resonate with the French court of his day. The case is also made that these tales are clearly oriented towards an audience that comprises the merchant class, what would be called the bourgeoisie in the Western world. (For instance, Sinbad and Ali Baba are both traders and merchants; Sinbad didn't sail the boat, merely accompanied his goods on it.)
Women play an interesting role in the tales. While there are some eroticized portrayals, there are many women who are wiser and craftier than the men, perhaps serving as examples for Shahrazad (as it is spelled in this book) to change the mind of the king who always threatens to kill her each day.
The book has sections that serve as appendices which recount some of Diyab's tales that Galland didn't include, and a discussion of the various translators of the Nights.
I especially enjoyed the illustrations from all the different artists through the ages who added their visual interpretations of the tales. The representations of the jinn were particularly enjoyable.
May 31, 2022
This annotated edition of The Arabian Nights is PERFECTION. I cannot recommend it enough.
I’ve been frustrated by previous translations when attempting to tackle reading Shahrazad's tales (particularly Richard Burton’s racist version), but here, Yasmine Seale’s translation was exactly what I wanted -- it’s readable, true to the originals, lyrical, and above all, immersive.
The introduction and subsequent annotations provided really interesting background about how the different stories came to be, alongside other cool historical and cultural facts about various elements in the tales. Things like - what's the difference between a good djinn and bad djinn in Islam? Why was Harun al-Rashid the go-to caliph in these tales? Why are so many of these stories about merchants and wealth?
For instance, I had no idea Syrian adventurer Hanna Diyab was the original storyteller for Aladdin and Ali Baba. Reading Galland’s notes from his storytelling sessions with Diyab was such a cool peek at seeing how fairytales are produced. I definitely want to read his autobiography now.
All of this goodness is then sprinkled throughout with incredible imagery…the ideal way to read these stories.
My personal favorite tale was “Prince Ahmed and the Fairy Pari Banu.” I really want to see/read a retelling of it. My favorite of the “core” stories was probably “Dalila the Crafty”…love me a devious female thief. And of course, I always love the framing tale of Shahrazad, one of literature’s all-time great heroines.
I’ve been frustrated by previous translations when attempting to tackle reading Shahrazad's tales (particularly Richard Burton’s racist version), but here, Yasmine Seale’s translation was exactly what I wanted -- it’s readable, true to the originals, lyrical, and above all, immersive.
The introduction and subsequent annotations provided really interesting background about how the different stories came to be, alongside other cool historical and cultural facts about various elements in the tales. Things like - what's the difference between a good djinn and bad djinn in Islam? Why was Harun al-Rashid the go-to caliph in these tales? Why are so many of these stories about merchants and wealth?
For instance, I had no idea Syrian adventurer Hanna Diyab was the original storyteller for Aladdin and Ali Baba. Reading Galland’s notes from his storytelling sessions with Diyab was such a cool peek at seeing how fairytales are produced. I definitely want to read his autobiography now.
All of this goodness is then sprinkled throughout with incredible imagery…the ideal way to read these stories.
My personal favorite tale was “Prince Ahmed and the Fairy Pari Banu.” I really want to see/read a retelling of it. My favorite of the “core” stories was probably “Dalila the Crafty”…love me a devious female thief. And of course, I always love the framing tale of Shahrazad, one of literature’s all-time great heroines.
February 27, 2025
These are the stories for more hopeful times. Times, when the biggest setback you could face was your wife turning you into a dog, or a jinny replacing your groom into the nuptial chamber.
And the biggest moral redemption for a ruler was - roaming the city during nights in disguise, lending an ear to the peasants actually ; instead of, shouting bs to sheep on social media (surprise, surprise).
All in all, this is a superbly researched book. I've read the translated version of Arabian Nights during my childhood. But they were abridged, kid-friendly, sans all the juicy bits like- sex, nudity, who-is-sleeping- with-whom etc.
This version presented the stories with full flourish, and unapologetically Oriental erotic yearning (as it should be). The accompanying illustrations are so varied and lovely.
Now, though I fully respect the role of Diyab in birthing these stories, the background and the research part was a bit heavy for my mood. The same goes for how Arabian Nights inspired different authors in their own works.
The 4th ⭐ is for the analysed sections, though I skimmed through them.
And the biggest moral redemption for a ruler was - roaming the city during nights in disguise, lending an ear to the peasants actually ; instead of, shouting bs to sheep on social media (surprise, surprise).
All in all, this is a superbly researched book. I've read the translated version of Arabian Nights during my childhood. But they were abridged, kid-friendly, sans all the juicy bits like- sex, nudity, who-is-sleeping- with-whom etc.
This version presented the stories with full flourish, and unapologetically Oriental erotic yearning (as it should be). The accompanying illustrations are so varied and lovely.
Now, though I fully respect the role of Diyab in birthing these stories, the background and the research part was a bit heavy for my mood. The same goes for how Arabian Nights inspired different authors in their own works.
The 4th ⭐ is for the analysed sections, though I skimmed through them.
December 24, 2022
This is a beautiful book. Very well designed. With interesting illustration and annotation.
Some of the stories are so interesting.
— The story of Sinbad the sailor:
This is one of the most famous one. But I’m not sure I’m that impressed.
— Ali Baba and the forty thieves:
Still very good.
—
— Prince Ahmad and the Fairy Pari Banu:
It could have ended perfectly. The happy prince Ahmad visiting his father once a month. His father had to listen to the jealous vizier and started to make one after another greedy requests, which eventually brought his own demise. The moral of the story: Learn to be content and you’ll be happy.
— Aladdin and the wonderful lamp
I remember a comment from another mom: I pay most of my attention to the parenting aspect of a book. So true! I do the same. I’m still in the middle of reading this story but what already got my attention was the education Aladdin received and how he changed after the encountering with the magician.
— The story of the jealous sisters
The story itself is kind of stereotypical. But it served well as a story that led to Shahrazad’s liberation.
Some of the stories are so interesting.
— The story of Sinbad the sailor:
This is one of the most famous one. But I’m not sure I’m that impressed.
— Ali Baba and the forty thieves:
Still very good.
—
— Prince Ahmad and the Fairy Pari Banu:
It could have ended perfectly. The happy prince Ahmad visiting his father once a month. His father had to listen to the jealous vizier and started to make one after another greedy requests, which eventually brought his own demise. The moral of the story: Learn to be content and you’ll be happy.
— Aladdin and the wonderful lamp
I remember a comment from another mom: I pay most of my attention to the parenting aspect of a book. So true! I do the same. I’m still in the middle of reading this story but what already got my attention was the education Aladdin received and how he changed after the encountering with the magician.
— The story of the jealous sisters
The story itself is kind of stereotypical. But it served well as a story that led to Shahrazad’s liberation.
This entire review has been hidden because of spoilers.
March 13, 2024
I haven't read any other versions, so I can't fully compare the translations, but I thoroughly enjoyed Yasmine Seale's translation of Arabian Nights. Each story retained poetic elements that made me understand why this was so popular, and the annotations provided historical and pop culture fun facts that increased my appreciation for these tales.
Of course, these are all centuries-old stories and the original authors are long dead, but I thoroughly enjoyed Aladdin, The Story of the Porter and the Three Women of Baghdad, and The Story of the Merchant and the Jinni. I didn't find the stories that were from Galland's notes to be worth reading for the most part.
I was surprised to read about how Europeans may have influenced or created some of the later tales. I enjoyed the history as much as I enjoyed the stories.
Of course, these are all centuries-old stories and the original authors are long dead, but I thoroughly enjoyed Aladdin, The Story of the Porter and the Three Women of Baghdad, and The Story of the Merchant and the Jinni. I didn't find the stories that were from Galland's notes to be worth reading for the most part.
I was surprised to read about how Europeans may have influenced or created some of the later tales. I enjoyed the history as much as I enjoyed the stories.
July 7, 2023
What an astounding piece of work this is. I just took a Zoom class led by Yasmine Seale, the translator of these tales, and I was impressed by the depth of influence these stories and their characters have had on our literature, mythology, and music. These tales have a history of their own, having grown from various cultures and through a variety of translations. Ms. Seale discussed the fact that these stories can’t really be called a book, because they defy any efforts to push them into such a narrow construct. Fascinating history and stories. I remember reading some of them as a child. Now, in this wonderful annotated and richly illustrated book, they come alive for any reader who wishes to delve into them.
May 29, 2022
I loved the in depth analysis of the tales in how they were made and the other stories that not included in some editions of the nights. It was a joy to read author take on these stories ranging from Edgar Alan Poe ,Charles Dickson to HP Lovecraft, they stayed within the atmosphere of there inspiration showing how much they loved The Nights Stories.
I’m glad to have read three versions of the Nights along with other stories anthology not included and to pick up this annotated to see how long these collection of tales has influenced the West.
I’m glad to have read three versions of the Nights along with other stories anthology not included and to pick up this annotated to see how long these collection of tales has influenced the West.
August 24, 2022
All I knew about the Arabian Nights before reading this was Disney's "Aladdin" and Rimsky-Korsakov's "Scherezade" which made this very enlightening. The lengthy forward (historical context) and afterword (literary criticism) are not easy reads but they provide interesting and important insights to this influential work. The stories themselves are delightful, and the annotations linking them to the later works they influenced are fascinating. Now that I've read this I'm very keen to continue exploring the history and literature of the Middle East.
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