The phenomenological instance of the author is reflected in textual reality via the depicted realm or by the themes developed in the digesis. Indeed, the style of author’s writing, his specific style of characterization and particularly, his very specific narration, play an important role in reflecting his way of looking and being in the world. The purpose of this article is to examine the homogeneity or heterogeneity of identity themes with narrative patterns according to Lintvelt’s narratological theories. The main question that may be raised is whether there may be an effective link between the narrative structure and thematic (identity) content of this work? Do the author's minds fluctuations, negative impulses, and mental anxieties which have been reflected in earlier novels (and according to the author’s own statements they all have been finalized and condensed in Soluk) are able to adapt meaningfully with the narrative patterns of this novel? It is presumed that within a work, both narrative structures and novelistic content contribute synergistically in reflecting the author’s way of being in the world. Saying so, if the thematic level contains identity fractures, or ideological impairment, the novel’s narrative structure should also reflect the author’s phenomenological dissociation
Our investigations of the so-called corpora have pointed out a complete compliance between the formal narrative features and the phenomenological/ideological content of the novel. The author’s identity disintegration has thoroughly tinted all narrative aspects of the novel; whether narrative instances or narrative types, all are forming a strong homogeneity between thematic structures&narrative structures.