Intrigued and enthralled, the king postpones her execution so she can finish the tale the following night, at which point, of course, she starts another tale, forcing him to further delay her death. His latest bride, Scheherazade, delays her imminent doom by telling him part of a wonderful story each night. He has her executed, but bears a grudge and marries a succession of women, killing each of them before they can betray him like their predecessor. A king comes home to find his wife has been unfaithful. "It's almost vertigo-inducing, how One Thousand and One Nights works. "You're in one dimension, and the book then takes you to another, and another," he says.
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Paulo Lemos Horta, an assistant professor of literature at New York University Abu Dhabi, who teaches One Thousand and One Nights, compares the story with Christopher Nolan's brain-frying sci-fi movie Inception. "It's just a massive source of cultural expression – and the influence it's had on everyone, from Dickens to Proust, is incredible." "This huge book contains within it practically every motif known to folklore and literature," says Robert Irwin, author of The Arabian Nights: A Companion. It continues to exert a magnetic pull on readers, cinemagoers, theatre directors, writers, musicians and artists, even if most have not, and never will read, all of the one million or so words that comprise most translations. With enthralling tales of malevolent genies, magical lamps and a restless seafarer named Sinbad, One Thousand and One Nights is surely the Arab world's most famous story.
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