This converge entitled "The Narrative Vision in Abdu AL Rahman Munif's Short Stories" tries to approach the narrative vision in Abdu AL-Rahman Munif's short stories. Its value comes out of highlighting "Vision" as a critical tool which has a profound influence on the narrative studies because the fictional structure has obviously become to depend on multiple perspectives, multiple viewpoints and voices, which are entries where we can perceive the stylistic value of fictional works. This study also is a great vale as an exit of the fictional lesson of munif's works and to shed light on his unknown fictional works. This study takes up a collection of short stories written by Abdu AL- Rahman Munif: "Pen Names" and "The Open Door" as a domain for reading and analysis with the purpose of searching for narrative vision techniques in its narrative structure; and what this vision includes such as focusing (Focalization) on characters, time and place; as well as inquiring about indication issue in the fictional dialogue. To achieve this purpose, we resorted to several critical approaches on which we leaned in conformity with our study and achieving our aims. A group of result came out of this study as follows: The follower of focusing patterns by which Abdu AL-Rahman Munif originated the fictional structure for his fictional texts concludes that the majority of texts; we realize that the narrator is totally equivalent to the character or what Todorov calls "Vision with" and what Jennet calls "Internal focusing" (Internal Focalization). The narrators in these texts are characters existing in the fictional structure whether they are witnesses to incidents or participating in them; or they are key characters creating incidents and participating in them. Ir general, the narrator resorts to the technique of the knowledgeable narrator who is aware of everything and is able to penetrate into the depth of each character; moreover, he doesn't only satisfy himself with presenting incidents but he paraphrases them from his own perspective and makes the recipient believe in them; this is what Todorov calls "Vision from the back" and Janet calls "Zero Focusing"( Zero Focalization). It is observed that the narrator doesn't excessively use internal focusing in the third pattern; namely, External Vision, or "Vision from the Front"( External Focalization) in some texts. The conscience of the speaker carries the burden of narration in most texts, moreover, it determines the characters' innate disposition and the escalation of incidents. The narrator resort to playing tricks on us with the tool of time, and breaking its natural flow through the intervention of the narrator whether by flashbacks or anticipations and other time techniques. Place is considered a vessel in which the narrator practices his fictional game and approaches the features of the real life. The Vision and indication are so wide that they contain the social, political and economic aspects prevailing in the time of the stories. Abdu AL-Rahman Munif's stories present an image of the real life as the writer imagines from his own perspective. To achieve this, he utilized a group of narrative techniques from which "Vision" is the main entry for reading the narrative works, in building their incidents, in depiction of characters and defending their dimensions.