This essay analyzes how Caramelo, or, puro cuento (2002) by Sandra Cisneros contests official and patriarchal renditions of the past involving Mexico and the U.S. by using narrative sub-genres such as historiographic metafiction, autobiographical fictions, cultural hunting and the New Historical Novel, Cisneros underlines the subjective, intertextual, and ideological nature of historiography and fiction to validate her own feminist and postcolonial version of Mexican and American history.