We live in a world in crisis. And this crisis is also cultural. If multiculturalism encourages the dialogue between different areas of culture, it steals, many times, the specificity, dilutes its marks. And it happens, at this moment, with history, with fiction and reality. The conception of history that we decided to interpret, seemed like a narrative of simple structure, when it revealed to be a narrative of complex structure by following the steps of fiction, oscillating between tragedy and feuilleton. A story can be a historical narrative or a fable, depending on "how you tell" this story. The same occurs with fiction that can, many times, witness the truth of a historical fact. This approximation between these two discursive practices is the crucial point of our research, verifying how historical and fictional discourses behave, both manufactured and elaborated by the fetishism of facts in historical-fiction production. This paper presents the results of a study that bent over the bias that outbreak the proximity of history and fiction narratives. It has focused social and discursive representations in the investigations made by the analysis of the literary works: A Carta de Caminha em diálogo com o Diário de Bordo de Colombo e Peregrinação de Barnabé das Índias by Mário Cláudio, A Implosão da Mentira by Affonso Romano de Sant Anna, O Conto Da Ilha Desconhecida by José Saramago and O Vendedor de Passados by José Eduardo Agualusa. Therefore, we investigated several literary genres, such as: a letter, as a historical document, a poem, a tale and a romance. We crossed the Atlantic in the XV and XVI century until the present century XXI, traveling through literacy between Portugal, Brazil and Africa.