After World War Two and its disasters, a voice which intends to withstand all the collapses emerges in the course of the 1950s : the “Nouveau Roman”. The neo-novelistic narrative, a fervent and undivided counterpoint to the wonderful and neo-Balzacian tales of then, establishes itself as the narrative and hermeneutic counter-voice to its own time. The world is no longer obvious and must be retold from its ruins, as a counterpoint to any narration and to any story. Writing against the grain like Walter Benjamin wanted, such would be the secret and discreet story that would come to tell itself in the neo-novelistic prose which would lead it to a story outside of history, where the Baroque would speak out loud, and where its mania of conquest would take the narrative away from all the nonsense of that time. The counterpoint of the Nouveau Roman, a repetition of repetition against any recurrence, invents a narrative that is commensurate with a disaster that does not leave the speech unscathed. The writing is thus nothing but a myth. It collapsed on itself. From its mania for seeing, the neo-novelistic Image then presents itself as the absolute counterpoint to the achronical and ethical light of what will be the measure of their days and their hope.