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which narrative style does jhumpa lahir use in her short story "once in a lifetime"?

in a place once known as north america, now known as panem, is a very rich city surrounded by twelve districts. every year because this very rich city, known as the capitol, is so rich and likes to think they control all the districts - which they do - there is something known as the hunger games! this is where two children, one boy and one girl from each district from the ages of twelve to eighteen, have to leave their families and compete in the hunger games, a live event that is aired on tv's all over panem. when katniss everdeen, aged sixteen from district 12, has to volunteer to take the place of her twelve-year-old sister prim after prim's name is called forth to become the 23rd member to compete in the 74th hunger games, she promises to prim that she will win! katniss doesn't believe she's coming out alive - but she's not going down without a fight.

because district 12 is so poor, katniss has been close to death many times from starvation but she's made it through it. but this is a different kind of close to death; this katniss doesn't know if she can survive.

she doesn't want to hurt, or kill anyone but when it comes down to it katniss' instinct is to survive. but when she starts to have confusing feelings about the boy from her district who is also her fellow contender, things get worse, and then she teams up with the girl from district 11 and only one person can survive. but who will it be? will her feelings get the better of her? will she let someone else win so they don't have to die? if katniss is going to win she's going to have to be brutal. she's going to have to kill!

can you put the options and excert up

awnser:

the thousand and one nights – or, as i prefer to call them in the following forpurely practical reasons: the arabian nights – as we perceive them three hundredyears after antoine galland’s epochal french adaptation bear a distinct arabicimprint. meanwhile, the commonly accepted model for their textual historyacknowledges various stages in the conceptualization and effective formation ofboth the collection’s characteristic frame story and the embedded repertoire. thevast majority of tales in the preserved manuscripts of the nights has beenintegrated into the collection during two periods of arabic influence, the so-calledbaghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages arepreceded by an iranian version, probably dating to pre-islamic times, which in itsturn profits from both structural devices and narrative contents originating fromindian tradition. considering the eminent position that iran and iranian culturehold in the early stages of the textual history of the arabian nights, surprisinglyfew details are known concerning the collection’s relation to and its actualposition within the iranian cultural context. in the following, i will discuss linksbetween the arabian nights and iranian culture on several levels. in surveyingthese 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 arabiannights in modern iran