If your narrator has got a bad memory, you are supposed to be a good writer. With everyday talk of memory and the doings of unconscious, the tenor of fiction and non-fiction writings has altogether changed, and the commingling of reality and fantasy is not only ignorable but also desirable.
Now, if you want to be a good writer, write as elusively as possible. Leave as much to the imagination of the reader as you can afford because the onus of the credibility of texts has shifted to what they call readers’ response. What is of prime importance is the interpretive potential of the text. To add, the rubrics of ‘the unreliability of language’ and ‘contingence of meanings’ have stretched the frontiers of fiction beyond national boundaries and native cultural locations. The art of literary writing seems to be hinged around the notion that it is the modes of remembrance and presentation of life that count, not life itself.