نبذة مختصرة : Introduction In the 19th century, realism became the recommended and popular style of writers due to the seemingly accurate visions of the advancing capitalist life. Balzac's revolutionary views on narrative detail did not last long, and writers changed the conventional boundaries of his "primitive realism" in the modern era to combat the repetitive and dull aspects of description. With the theory of habituation and defamiliarization for innovation, they took a big step in the description technique in writing (Fowler, 2015, p. 85). In the field of using narrative elements in the works written in a realistic style, the author created a non-linear way by twisting time and emphasizing serious facts through the fluid flow of the mind. In this way, a suitable platform was provided for the reader to actively participate in creating the image of the story. In most of the non-linear narratives, the author tries to break the parallel lines of the narrative and take the reader's curious mind to the hidden corners of the causal logic of the images in order to provide a multifaceted space to discover the margins and contexts of the events and actions of the characters. In addition to that, new elements in the story routine and the text routine called anachronies emerged through flash forward and flash back, the intertwining of imagination and reality and other innovations in the narrative of the story, so that the scope of transformation to expand the species of Realism. The story "I don't love Afsaneh" written by Maryam Moeini has three intertwined narratives. In the first narration, Muhammad Ali and his family go to his aunt's house to propose to her and hear a negative answer. The second story is related to Farvardin 1367 and the fall of Faw. This city was conquered by the Iranian forces in 1364, Mohammad Ali was one of the forces that came from Faw to the coast of Arvandroud during the retreat of the Iranian forces in 1367, but he was injured and took shelter in the middle of a swamp with piles of reeds for 45 days. In the city, they hold a ceremony for him as a missing body. Muhammad Ali resists by eating palm leaves and flowers. Finally, he decides to bring himself to Iran with a depreciated float. The third part of the story begins with entering his front and how the commanders faced him with hesitation. After the opacity and doubts that arose, people's acceptance of him adds to the suspense of the story, but still the legend and then people avoid him by calling Muhammad Ali crazy. Methodology. Non-linear realism, unlike realism, seeks the knowledge of the world within the human being, so the narrative world and its actions become more visible in the novel by intertwining time and emphasizing facts through the fluid flow of the mind. In this research, the long story "I don't love Afsaneh" written by Maryam Moeini has been analyzed in terms of the application of the components of non-linear realism. The plot of this long story is located in the historical background, but the author creates a multifaceted space and provides the conditions to discover non-realistic margins and contexts. In the continuation of the research, the most important methods of non-linear realism such as: creating nested layers through the fluid flow of the mind Polyphony, sidelining of history in favor of story, change of descriptive pause, creation of suspenseful semantic layers and open ending have been investigated. Discussion. The school of realism in literature has presented many types of narration. The dominant feature of this school's tools in reflecting reality and "reaching life experiences" is the honest expression of issues, the linear sequence of events, and the expression of an impersonal and objective view of the characters of the lower class of society. The realist writer tries to convey real experiences to the reader and for this purpose describes the details of people and behaviors (Daad, 2008, p. 257). that it is not trivial, that is, it is among vital issues. The realist writer always deals with issues that affect the public. So-called, it is considered the role of time" (Parham, 1974, p. 47). Of course, apart from understanding the problem, expressing or narrating the findings also plays an essential role in the permanence of the vision or strategy of each school. Some of the most important techniques used in realist works are: nested layers in the narrative, avoiding long writing, trying to break the macro narrative and creating tension and relativity in the narrative, time breaks, engineered arrangement of time and creating suspenseful layers of meaning. The introduction of these methods - gradually - in realist works has helped pay attention to the rhythm of the narrative in the later periods. Some writers paid attention to these methods and created other parts in the quality of realist narratives. Gathering all or part of these methods in one work can be the basis for a transformation in the boundaries of knowledge in the field of realist narratives. Results Non-linear realism is one of the new styles of story-writing, which by introducing modern and post-modern techniques, presents a realistic picture of human life today. The story "I don't love Afsaneh" is one of the long stories in the field of sacred defense, which, while emphasizing the narrative components of realism, has highlighted the non-linear narrative techniques with the break of the linear narrative. In this story, according to the historical background, the author has shown the inner relationships and mental actions in other layers of time and place. The character of the story is stuck in a threshold situation between Iranian and Iraqi forces for 45 days, but he goes forward and after the event with mental jumps. The combination of three narrative times has given the author the possibility to shape the discontinuity of time and narrative through the introduction of the second-person narrator with the meaningful arrangement of story layers. This method made the abovementioned story, unlike post-modern stories, show a kind of narrative continuity and meaning within the framework of three diverse and different themes of love, war and exile. The tricks used in the story are narrated in such an internal and intrinsic way that while drawing the character's world, it also emphasizes the suspenseful and enigmatic side of the narrative, his feelings and emotions. At the end of the story, the superficial plot of the story is completed in a structural way, but the human plot remains open so that the reader can be placed in the text of the story and along its emotional lines with his own perception. [ABSTRACT FROM AUTHOR]
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