This thesis examines how history, memory and war are presented in four selected novels published since World War Two: Kurt Vonnegut?s Slaughterhouse-Five, Penelope Lively?s Moon Tiger, Michael Ondaatje?s The English Patient, and Ian McEwan?s Atonement. Although these authors wrote their texts in different decades after the Second World War, their novels all belong to the postmodern genre of ?historiographic metafiction? and resemble each other structurally and thematically in various ways, such as a shared interest in the act of storytelling, and the search for meaning in the past. The theoretical part of this thesis explores the borders between fact and fiction in historiography and in literature, and traces the development towards a postmodern aesthetic. The term ?historiographic metafiction? is also defined and discussed in this section. The argument is made that Word War II opened a door for more relativism and distrust of totalizing ideologies, which is reflected in self-conscious, metafictional literature. The last section of the theoretical part introduces some terms related to memory studies. Memory is important because the narrating self is removed from the events it describes; it can access those events only through memory ? but memory is often fragmented, fluid, incomplete, and changeable. In the analyses, each novel is examined for its treatment of questions related to history, memory and fiction, as well as for its representation of WWII. The novels all illustrate that story-telling can never be disinterested or objective, because the storyteller ? or narrating-I ? is never without self-interest: self-narration is always inevitably tied to one?s identity or self-conception. The novels also highlight the interdependence of history, society, and personal narrative and seek to re-conceptualize the past by drawing attention to its textuality.