This study provides a postcolonial narratological analysis of The Kindness of Enemies to explore different layers of identity formation for Muslim immigrants. The novel chronicles the dilemmas Natasha, a Muslim professor of history that teaches at a Scottish university and studies Imam Shamil’s jihad, experiences in maintaining an independent sense of identity far from a Westernized mindset. A stylistic axis whereby the author mirrors this complexity is the simultaneous utilization of the first-person verbatim narrative of Natasha and the third-person omniscient historical narrative of Shamil with three distinct focalizers. Such structure highlights the significance of spaciotemporality, narrator, focalizer, and communal voice. The study pinpoints that both parts of the novel are narrated by a single narrator (Natasha). As her supposedly assimilated identity of an exemplary university lecturer is tarnished, she realizes the futility of hybridity that has left her in state of adrift-ness. Narrating historical events through the focalization of three imperialized characters, she becomes the communal voice of those whose identity is besmeared by imperialism and those who attempt to resist, which in turn allows her to exercise agency.

The prevailing motifs of Auster's literary oeuvre such as chance, contingent events, writing and the binary opposition of reader and author are also noticeable in Paul Auster's Invisible; however, in this article, we examine the novel in terms of the characters' psychological attempts to form their different identifications within Lacanian theoretical framework. Born acts as both reified big Other and object petit a for Walker, while Walker, in his different encounters with Born, experiences disparate Zizekian parallax views. Holding such views, Walker stands in the middle of the various courses of subjectivities, thereby undergoing a complicated interwoven subjectivity. Furthermore, Born's encounters with the Real, epitomized in Born, place him in the two concurrent positions of subjectivities both in the Imaginary and the Symbolic order. As a result, his constant Symbolic identifications with signifying traits of Born's bring him nothing but an aporia of logical perplexities. Last but not the least, we emphasize that the fluctuation between lost object and the loss itself, as an object, plums the depth of the anxieties embedded in such interwoven subjectivity.

With the recent inclination toward reading for ideological aspects of his works, Nabokov, who had been pervasively regarded as a mere ingenious aesthete, both during his life and for a long time after his death, has proved more puzzling in interpretation than what scholars believed. In this research, in order to understand what concept of freedom Nabokov has developed in his Bend Sinister, we focus on the two of his salient concerns: reality and individuality. Consequently, our narratological reading of Bend Sinister is concentrated first on the interpretation of the whatness of reality and its contribution to realize freedom, and second on analyzing the significance of retaining individuality to procure freedom; ultimately, out of delving into these two issues, the concept of freedom that the narrative techniques of the novel render, in correspondence to the peculiarities of the mid-twentieth century, is found out. Regarding the notion of the reality, in this novel, the unremitting propaganda of the totalitarian system presented the materialistic world as the ultimate truth, confining citizens in the prison of a fake world and not permitting them to gain the slightest awareness of the endless freedom possible in eternity. As to the individuality, Krug’s attempts not to succumb to the desired system of padograph lead him to maintain his individuality and partly realize his freedom of mind. And finally, it is shown how totalitarianism has reached such absolute power that no thorough freedom of mind is now conceivable for humanity.

Among the most prominent political novels of the twentieth century, Invitation to a Beheading is the acme of Nabokov's art in that it was embellished by the finest Nabokovian techniques, and was enriched by thought-provoking ideas. This study is aimed to offer a narratological reading of this novel in search of what its implied author has pictured as the meaning of genuine freedom intended by Nabokov. By analyzing the story and discourse levels of this narrative, we are going to discuss, first, the concepts of 'reality' and 'individuality' in Invitation to a Beheading as the pillars on which the author constructed the ultimate concept of freedom. After discussing the contribution of these two notions, in the last section of this article, dedicated to the questions of ideology and rhetoric, we place the ultimate concept of freedom in the period in which the novel was composed. We discuss how the final picture is in accordance with the peculiarities of the modern world that went through two World Wars and witnessed the outcome of totalitarian systems.