My hypothesis is that the novels of transition from English to French – Watt, Mercier and Camier, and the Molloy, Malone dies and The Unnamable trilogy – allowed Beckett to distance himself from the canons of great literature as defined at the turn of the 19th and 20th century. Texts-inprogress, even drafts, liable to permanent modification, his novels question the very notion of an original version. These novels, copies which can be translated or betrayed indefinitely thanks to a game of demystification where the two languages play a fundamental role, demonstrate the multiplicity of ways of saying (or writing) and representing an illusory truth.