A corpus of what Linda Hutcheon calls "historiographic metafiction" or "innovative historical novels," as Brian McHale puts it, was already established within the North and Latin American literary establishment by the end of the 70s. In Iran as well as in other Middle Eastern countries something similar was starting to take place; many of innovative historical fictions emerged after 1979 Revolution, among them Reza Baraheni's The Mysteries of My Homeland and Azadeh Khanum and Her Author or Dr. Sharifi's Private Auschwitz. These two consciously self-reflexive novels are significant as they challenge aptly the very act of fictional and historical writing. Internalizing what Baraheni himself terms 'Iranian historical instability' in their forms, both novels, specifically Azadeh Khanum, bare the process by which a naïve conception of history as something always-already stabilized could be deconstructed and alternated by a conception of the utter indeterminacy of the past. Perpetual change and instability become the nature of the past; a past which is forever being rewritten. Baraheni's works fit many of the criteria of "innovative historical novels," integrates multiple possible worlds by which post-modernist fiction highlights ontological concerns, and emphasizes fictionality by drawing attention to the process of installing order. This presentation will focus mainly on the Reza Baraheni's notion of the interdependency of fiction and history as it is depicted in the above-mentioned novels. Witnessing the overwhelming birth of 1979 Iranian Revolution, in The Mysteries of My Homeland, Baraheni offers a personal recreation of the contemporary history of Iran through mosaic narratives. Baraheni's works, far from trying to capture an objective vision of this contemporary history, are conscientious construction in which the author intentionally mixes factual historical data, nostalgia, memorabilia, as well as a whole range of fictional, semi-historical and historical characters in order to create a peculiar revision of "Iranian historical instability" before and after Revolution. In Azadeh Khanum, also, instead of surrendering his novel to the constraints of a specific historical era already textualized, Baraheni brings the elements of that historical era into his fictional narrative. Once the reader assumes Baraheni's tenet that the traces of the past, events as well as characters, are entirely unreliable and discursive -i.e. fictional- there is no need to keep the historical and the fictional in distinct categories. Baraheni, in this sense, depicts a set of fictional characters who merge and interact with historical figures of the contemporary era, including himself.