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In order to examine the ways in which postrealism manages to reconcile the postmodern filter of language, on the one hand, and the insistence on a grounding in historical reality, on the other hand, I shall concentrate on Marina Warner's Indigo , which re-writes traditional history as well as Shakespeare's The Tempest (1612), Jeanette Winterson's Boating for Beginners (1985), which re-writes the Bible, and Jean Rhys' valentine's Day links of london , which re-writes Charlotte Brontë's Jane Eyre (1847). All three novels represent postrealism's double rooting, both in real time and space and in a previous text, as well as its double realistic reference to an "empirical past" and to an "empirical present." They all present true-tolife Z Charm situated in history and evolving in a more or less plausible plot, yet the traditional notions of subject and of time and space are undermined by common narrative techniques. Moreover, they share certain themes: a desire to see things from the "other side," a "feminist" orientation, and a blurring of patriarchal boundaries and dualisms, all linked to a call for change in point of view and to the suggestion of a possible happy ending in the future for minority groups as well. Grouping narratives which re-write sacred texts, classical literature, and traditional history to challenge their philosophical foundations from within will foreground Y Charmpreoccupation with reviewing foundational texts of contemporary life. Taking each text in turn, I shall analyze the various intertextual techniques used to re-write the previous texts, and examine how this rewriting comments on the real world and revises the modern notions of the subject, as well as those of time and space X Charm.