“Does the Arabic novel exist?” With this provocative question, Hilary Kilpatrick begins an article entitled “The Arabic Novel—A Single Tradition?,” in which she makes clear that her question has been inspired both by the established regional approach most critical studies use in dealing with the Arabic novel, and by the absence of a continuous tradition of the novel as a genre in the Arab world. But, while underscoring variety in form, style, and subject, Kilpatrick, keen to provide an answer to her question, concludes in unequivocal terms that the Arabic novel as a single tradition does certainly exist: “It is written in one language, and [has] a shared cultural heritage and recent historical experience common to the whole area [which] providef[s] novelists in different countries with similar material. In this respect the Arabic novel is distinct in its subject matter from the African or German novel, for instance.” Although the conclusion is valid, it is based on his- torical and cultural generalizations rather than on a thorough study of novels from the Arab world. Nor does the platitudinous remark with which the quotation con- cludes help Kilpatrick make her case in a particularly convincing manner. The distinct nature of the Arabic novel, as this study will demonstrate, is best exemplified in what might be called the Arabic Bildungsroman. Its definitive, culturally determined themes and structure, distinctive basic tension, and established literary conventions to my mind suggest the presence in the Arab world of at least this kind of novel.