Realist novels strive to present an objective image of reality by mainly using impersonal impartial narrators. Moreover, an intrusive narrator leads to a fabricated narrative and overshadows its verisimilitude. The present study aimed to investigate all kinds of intrusion by narrators in the Persian novels from 1921 till 1941 in terms of realism. To do so, first the signs of narrator intrusion were identified and categorized in the novels under study. Then, narrator intrusion was investigated in terms of components of realism. The main narrator intrusion techniques included narrator’s self-expression, explanations about narrative act, judgments about story characters and actions, generalizations of emotions and actions of characters, and delivery of sociopolitical speeches by the narrator/author. The results revealed that some narrator intrusion techniques, especially narrator’s self-expression and explanations about narrative act, had roots in the novelty of the novel genre and had been influenced by the then common narrative models in the traditional genres such as storytelling and the like. Explanations about narrative act may weaken the illusion of reality and verisimilitude by highlighting the constructivism of a literary work. Furthermore, a belief in the educational function of the literature and the delivery of long ideological speeches would lead to the inconsistency of journalistic missions with the realist criteria for novel narration and thus would undermine an absent or impartial narrator.

As the most significant hagiography of Ilkhanīd period, Safwat al-Sāfa articulates a specific narrative of Sufi-State relationships under Ilkhanīds. What is represented in this new narrative is not the overall political history of the time, but only some moments, in which the central event is the encounter between the representative of ideological power, i.e. Sufi leadership, and representatives of secular power, politico-military elite. Safwat al-Sāfa's reports do not imply a complete representation of those events and do not correspond to the official historiographical reports of those events, but are aimed at writing them in line with the author's political orientation. The author, thus, selects some elements of political history and reconfigures them in a new narrative arrangement in order to provide a new account with real actors and real events with a degree of verisimilitude. Neither absolutely allegorical nor totally realistic, this new narrative configuration combines allegorical elements with realistic ones to transmit its political point; the superiority of ideological power over political power.

The folk culture of the Turkmen people, which consists of material and spiritual elements, is important from the sociological, anthropological and psychological points of view. Mirkazemi has compiled an encyclopedia of these elements in Yurt. This research extracts these elements and categorizes them in a library manner and examines them in a descriptive-analytic manner. The socio-cultural origin as a key factor, and other factors such as religion, language, and race from within, and the environment, proximity to ethnic nations, and policies of the governments of Iran and Russia, also affect it from the outside. In the last century, with the establishment of governments, forced settlement, stability and security, literacy, and the passage of time, the mentality and communication have also changed through these elements, the role of which will be examined as well. The climatic color of the work and its realistic style have helped to advance the elements of the novel such as character and characterization, scene and staging, and space and verisimilitude.

Delving into the narration of Ian McEwan's Sweet Tooth (2012), this enquiry unravels the threads of conventional realistic narrative and avant-garde postmodernist one in the tapestry of the novel, arguing that through the miscibility of these two heterogeneous modes of narration McEwan constructs a narrative meta-design that innovatively adds an enigmatic dimension to the spy novel genre. In his dual narrative that depends on verisimilitude as well as self-conscious reflexivity, he once again, a decade after his Atonement (2002), demonstrates his literary taste for bridging the "past" and "present." Marinating his narrative in Cold War events, and adding a dash of what Linda Hutcheon calls "historiographic metafiction," he makes a postmodern signature dish that sustains its paradoxical hybridity: a representational self-reflexivity or an anti-representational reflexivity. Aligned with Monica Cojocaru's detection of a "metafictional twist" in the novel as a part of her comparative investigation, this study discusses that Sweet Tooth's dual narrative makes it eligible to wear the postmodern badge.