Epik Hikayat Seribu Satu Malam mula dibentuk pada abad ke-10 dan mencapai bentuk terakhir menjelang abad ke-14. Bagaimanapun, bilangan dan jenis ceritanya berbeza-beza antara satu manuskrip dengan yang lain.[3] Semua cerita khayalan Arab seringnya dikenali sebagai "Arabian Nights" (Malam Arab) apabila diterjemahkan ke dalam bahasa Inggeris, tanpa mengira adakah cerita itu berasal daripada mana-mana versi Hikayat Seribu Satu Malam.[3] Epik Hikayat Seribu Satu Malam agak berpengaruh di Barat sejak diterjemahkan buat pertama kali pada abad ke-18, mula-mulanya oleh Antoine Galland.[4] Banyak karya tiruan kemudian ditulis, khususnya di Perancis.[5][6]
Ibn Tufail dan Ibn al-Nafis merupakan perintis novel falsafah. Ibn Tufail menulis Hayy ibn Yaqdhan (Philosophus Autodidactus), novelfiksyenArab yang pertama, sebagai balasan kepada Tahāfut al-Falāsifa yang ditulis oleh al-Ghazali. Ibn al-Nafis kemudian menulis novel fiksyen, Theologus Autodidactus, sebagai balasan kepada Philosophus Autodidactus. Kedua-dua cerita mempunyai protagonis (Hayy dalam Philosophus Autodidactus, dan Kamil dalam Theologus Autodidactus) yang merupakan kanak-kanak feralautodidaktik yang tinggal dalam keadaan terpencil di sebuah pulau gurun. Kedua-dua novel merupakan contoh terawal untuk cerita pulau gurun. Bagaimanapun, sedangkan Hayy hidup bersendirian dengan haiwan-haiwan di pulau gurun, cerita Kamil melewati latar pulau gurun dan berkembang kepada plot remaja terawal yang diketahui lalu akhirnya menjadi contoh novel fiksyen sains yang pertama.[8][9][10]
^I. Heullant-Donat and M.-A. Polo de Beaulieu, "Histoire d'une traduction," in Le Livre de l'échelle de Mahomet, Latin edition and French translation by Gisèle Besson and Michèle Brossard-Dandré, Collection Lettres Gothiques, Le Livre de Poche, 1991, p. 22 with note 37.
^Professor Nabil Matar (April 2004), Shakespeare and the Elizabethan Stage Moor, Sam Wanamaker Fellowship Lecture, Shakespeare’s Globe Theatre (cf. Mayor of London (2006), Muslims in London, pp. 14-15, Greater London Authority)
^ abJohn Grant and John Clute, The Encyclopedia of Fantasy, " rabian fantasy", p 51 ISBN 0-312-19869-8
^ John Grant and John Clute, The Encyclopedia of Fantasy, "Arabian fantasy", p 52 ISBN 0e, fantasy world having little connection, if any, to actual times and places. A number of elements from Arabian mythology and Persian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go.
^James Thurber, "The Wizard of Chitenango", p 64 Fantasists on Fantasy edited by Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X
^Dr. Abu Shadi Al-Roubi (1982), "Ibn Al-Nafis as a philosopher", Symposium on Ibn al-Nafis, Second International Conference on Islamic Medicine: Islamic Medical Organization, Kuwait (cf. Ibn al-Nafis As a PhilosopherDiarkibkan 2008-02-06 di Wayback Machine, Encyclopedia of Islamic World).
^Nahyan A. G. Famy astronomy, cosmology and geology known in his time. His main purpose behind this science fiction work was to explain Islamic religious teachings in terms of science and philosophy through the use of fiction.
^Dr. Abu Shadi Al-Roubi (1982), "Ibn Al-Nafis as a philosopher", Symposium on Ibn al Nafis, Second International Conference on Islamic Medicine: Islamic Medical Organization, Kuwait (cf. Ibnul-Nafees As a PhilosopherDiarkibkan 2008-02-06 di Wayback Machine, Encyclopedia of Islamic World).
^Amber Haque (2004), "Psychology from Islamic Perspective: Contributions of Early Muslim Scholars and Challenges to Contemporary Muslim Psychologists", Journal of Religion and Health43 (4): 357-377 [369].
^G. J. Toomer (1996), Eastern Wisedome and Learning: The Study of Arabic in Seventeenth-Century England, p. 222, Oxford University Press, ISBN 0198202911.