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By looking at Afghanistan novel writing and its ups and downs, some realities about intellectual and literary developments of this society become clear for the audience that require extensive research. One of these realities is Modernism and Postmodernism in the fictional literature of Afghanistan which links the Afghan novelists' society with the contemporary fiction writing society and illustrates the life aspects of an Afghan, especially the life of intellectuals in this country. This article is an attempt to reflect the important Modernist and postmodernist trends of novel writers in Afghanistan through a descriptive-analytical approach by exploring the contemporary novels in Afghanistan after the coup of 7th of Sur (April), 1357. The results suggest that we cannot speak of institutionalization of modernist and postmodernist novel writing in the fictional literature of Afghanistan, but there is an increasing growth of elements and components such as identity crisis of fictional characters, consequences of war and migration of  Afghan men and women, attempts to deconstruct the opposition of man / woman in Afghanistan’s male-dominated writing system, representation of intensive confrontation between traditionalism and modernism, etc. This indicates the emergence of new literary styles in fictional literature in Afghanistan, Quasi-modernist and sometimes Quasi-postmodern styles, which often have been adapted by emigrant intellectuals, following and imitating the western techniques of fiction writing.

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Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.