Pascal Quignard’s prose, in particular in the Dernier royaume polyptic presents a singular appearance, a discontinuous form which Dominique Viart calls “syncopated”, an elliptical form, fragmented, interrupted by silences. This is a study of the work of the voice, of the voices present in this work — of the plurality of voices, because cases of polyphony, through the evocation of earlier authors, are common in Quignard’s writing. If one focuses on the way citation is handled, one notices that its contractual limits are rapidly abolished. This very specific way of managing the hypotexts belongs to an aesthetic of collection and recollection, which defines the type of fragmentation at work in Quignard’s work. The motif of the list thus turns out, from this perspective, to be a focal point of Quignard’s writing (inasmuch as the paring down of discourse organises its composition). The list, focal point and final extremity of fragmentation, reveals this double movement: one of abandoning syntax in order to move towards the simple juxtaposition of the words in the sentence, the other in the need to gather back in, to recompose, to struggle against collapse, to put in order. Lists of authors also, those Quignard surrounds himself with, copies, recycles, and with whom he chooses to incorporate himself, within a collective body, both multiple and unique.