Fehmi K’n?n Acayip Serüvenleri shows a fairly simple appearance in terms of plotline. However, the text is a variation of the different narrators and presentation of the fiction. However, the text that carries almost all the features of the postmodern discourse needs to be looked at first in terms of pluralistic approach and fictionality. The most striking feature of the narrative is that it is a narrative parody. The postmodern narrative in the face of uncompromising attitude towards the narrator of the modern novel comes to the contrary with the multitude of narrators. It is also possible to see this approach clearly in Fehmi K’n?n Acayip Serüvenleri. However, it is noteworthy that there is more than one internal fiction, which are common narrators, as well as information on the theory of narration. The narrative problem, which we consider in the form of irony, and the narrative transformed into fiction itself constitutes the actual structure of the narration. It is obvious that the narrative is fiction, as Yavuz has set out to write a totally narrative parody. The event in the mood, the personality, time, space, etc. all kinds of elements are used to bring fiction to make it understandable.
The point of the narrative is the narrative itself, as mentioned in the narrative. Because the pattern of the event is almost absent; even if it is, it is the at work of Fehmi Kavki and Anette. There’s not much going on in this ordinary business day. The narrative writer tells Fehmi Kavki about his life and his thoughts by stopping to tell about Anette. The narrator’s own life is fiction and intersects with the story of Fehmi K. at the inner level at one point. The narrative begins with a summer morning awakening of Fehmi Kavki. He makes his breakfast and goes out to work. Fehmi Kavki, who arrives at his job and spends his whole day at work, returns home with the evening and prepares to sleep. The narrative ends up with the preparation of this sleeping. This time zone of his breakfast and arriving to the job delivers an impression of passing a long time by many interruptive subject matters. Apparently, in this sole and simple line, the ongoing event returns back and broadens, with unrelated information on various subjects. In the time zone beginning with a summer morning and ending in a winter night, we meet Fehmi Kavki’s friend Selim Ta??l and his mother (Müstehase Hanim) and his father (?zzeddin ?adan Bey). The narratives of these people’s stories and the storyteller’s mother, father (Hikmet Bey), grandfather, nanny (Fazilet) and Fehmi Kavki’s girlfriend Anette find their place in the narrative.