Shahrazad, the female narrator of the famous Middle Eastern work of literature, <em>One Thousand and One Nights</em>, weaves into her narration all forms of narrative and diverse literary genres, incorporating what seems to be reality —that is to say, her own life and the tricks she is forced to pull in order for her story to go on avoid being killed. To secure her life, she makes use of, for example, fables, fiction (at least as we have come to know these terms today, that is to say, as narrative taking the form of a novel or a short story, following a certain timeline structured around a setting, a plot and a conclusion), and even erotica in some passages that, centuries before the Marquis de Sade would make an appearance, shocked its readers. It is not incorrect to compare <em>One Thousand and One Nights </em>to the foundation of the modern novel inaugurated with Cervantes´ <em>Don Quijote, </em>in as much as both works of art are able to explode all literary genres in one single work of art, incorporating, once again, reality into the work of fiction and the point of view of endless narrators.
