This article focuses on the notions of postmodern sublime and its relation to meta-historical novels in Margaret Wrinkle’s prize-winning novel, Wash (2013), through the perspective of left thinkers. Using Lyotard, Hutcheon and Deleuze’s views, the writer tries to discuss how the American historical novel, which once established itself as a primary literary genre to undertake the mission of history making in America, has recently been used to unsettle the glamorous history by paying tribute to the voices gone silent through the white’s oppression and violence. The meta-historical romance or the postmodern version of the conventional historical novel is, in fact, a counter part to once realistic, linear, teleological, and mono-vocal works of the nineteenth century. In other words, this new version goes in tandem with the postmodern notions of fragmentation, mosaic, assemblage, non-linearity, and multi-perspectivism which deny an established, universal, and totalized version of reality and pave the way for the oppressed and stifled voices which were subject to the hierarchies of liberal humanism. In that way, these kinds of novels try to approach the history again and redefine the already-established, oppressive narratives. Since this redefinition turns the established history into a “construct,” one cannot grasp the reality of history any more, as one cannot comprehend the notion of sublime. It is out there, but out of touch. This fact welcomes heterogeneity and lets go of a hierarchical social structure for a horizontal one.