I analyze Iraqi author Hassan Blasim’s “Why don’t you Write a Novel, Instead of Talking about all these Characters” and “The Nightmares of Carlos Fuentes”, two short stories primarily concerned with the experience of border crossing of Iraqi refugees and immigrants into Europe. In both stories, the Iraqi protagonists try to forget past trauma and lives to forge new identities and subjectivities rooted solely in the present. The experience of border crossing leaves its mark on the body, mind, identity and narrative of the border crosser. These borders they have crossed are actually contaminated and figurative. In their new lives, they are constantly reminded of their otherness (refugees and immigrants), mainly, being border crossers which comes to define their new subjectivity and identity. Thus, instead of crossing the border, they actually become the border. These characters are doomed psychologically, figuratively and sometimes physically, to dwell indefinitely at the border. They inhabit “diaspora spaces”, where fractured subjectivities intersect and co-exist. Inhabiting a constant state of liminality, imprints itself on the body and psyche of the refugee/immigrant and translates into madness which manifests itself in another liminal space where nightmarish dreams, fragmented narratives, fiction and reality intersect and co-exist. Like his characters, Blasim the Iraqi refugee and writer, inhabits the in-between literary space, confounding the real and the fantastical. He uses literary narration to translate the experience of trauma, border crossing and madness; a translation that can raise our common concern for human suffering. Using Said, Anderson and Foucault’s critical notions of geographies, communities and identities as imagined/structured entities, I argue that Blasim’s use of nightmarish dreams, fractured narratives and experimental techniques offer the case for the use of writing and narration as an imagined, liminal space, beyond a bordered vision of territoriality, life and truth. Through this literary space of liminality, Blasim invokes ethico-political paradoxes of diaspora spaces transforming absurd real life liminality into a meaningful literary dialogue.