The documentary novel Trieste by Daša Drndić is a novel which deals with the issue of memory related to the Second World War. The thesis analyzes memory as the main topic of the novel, but also its narrative strategy in the context of the genre of historiographic metafiction. Postmodernist narrative procedures, the integration of historical material, the role of ironic discourse, places of silence in the novel and the portrayal of characters in search of their own identity are analyzed. The thesis also analyzes the politics of memory in relation to documentary material and fictional narrative. It is shown that the narrative approach to the topic results in a specific relation to memory, where the logical time sequence and the cause-and-effect concept of the plot are abandoned, resulting in a collage of names, confessions, photographs, interviews, quotes, analepsis, prolepsis and repetition. This outlines the constructivist model of memory, which was described in social theory by Halbwachs and Assmann, and the concept of an uncertain story becomes the only relevant way of writing about the past, where the narrative of fictional characters opens up space for the testimonies of real people, and the separation of the voice of the narrator and the characters offers the possibility for empathic identification to the reader.