This article presents a general theory of microfiction that focuses on the formal elements of the genre’s poetics. My analysis argues that a symmetry exists between microfiction’s contracted spatialization, and the compression—and hence violation—of temporal norms of the reader’s anticipation. The violation of conventional reading anticipation makes microfiction seem not only to be new but also transgressive. Indeed, much microfiction is transgressive of prevailing ideologies of time that are premised on the existence of contingency and the efficacy of human agency. This article takes the work of Israeli microfiction author Alex Epstein as its touchstone while advancing a framework for a theory of the genre.