One of the metaphors of the book is the carpet. Not just the flying carpet, but the carpet as a woven surface in which many repetitions and motifs recur and mirror one another. This is very much reflected within the stories: they have borders within borders, repeated motifs which change. They have their feet in oral conventions, and for the mnemonics, the storyteller needs to have a structure in order to remember the stories.

I consider it as a foreshadowing of modernity in many different respects, and the consistency of character is interesting to the emerging modern psychology. The emphasis on dream knowledge relates quite deeply to psychoanalysis, although I suppose psychoanalysis wouldn't like to say that... Freud was always saying he was a scientist.

I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.

I was brought up a Catholic and I was quite fervent, because I was sent to a convent school.

I used to retain information extremely fast, so perhaps it's hardening a bit and I don't take the impression as well as I used to. Instead of writing in free flight, I had to check on the stories all the time. So I have decided I better to do it while I am fresh!

When I was young, I did actually model and was much photographed by famous photographers. But I was always a bookworm.

Romance, in its earliest surviving form, was called ‘erotika pathemata’ by the Greeks - tales of erotic suffering.