Fernando Pessoa’s The Book of Disquiet has frequently been described as fragmentary, unfinished or resistant to generic classification. This article argues that such descriptions underestimate the text’s deliberate narratological design. Drawing on the theory of metalepsis by Genette and Hanebeck and Umberto Eco’s concept of Open work, the study examines how heteronymy, editorial mediation and disrupted narrative levels function as structural principles rather than signs of incompletion. Through textual analysis, the paper demonstrates that Pessoa’s use of metaleptic slippage between author, narrator and heteronym produces an autobiografictional form in which narrative authority is systemically destabilized. This instability reinforced by the absence of authorial sequencing and the posthumous editorial construction of the text, positions the reader not as a passive recipient of fragments but as an active agent in the production of coherence. Contrary to the readings that treat this book as an archival accident, I argue that the text’s narratological self positioning systematically scripts editorial mediation into the work’s meaning making process. The article thus reframes The Book of Disquiet as an Open work where meaning emerges through readerly reconstruction rather than authorial closure