Inspired by a real friendship, René Leys revisits the border between fact and fiction, on the side of the narrative’s disorders and not of their supposed coherence. First of all, autofiction, as the falsification of a unavowable real (however, which one?) reveals a made-up grammar that displaces the threshold of fictional illusion. Then, as a constant metaliterary gesture, the work blends parodic obsession and serious construction in a diptych so that rewriting as forged currency blurs the obviousness of its authenticity. At last, the novelistic machine, playing on rereading and revaluating the false by the false, creates an epochè which is itself defamiliarized (in the sense that incredulity is its mainspring more than its suspension) in the finale and in the epigraph notably. The whole makes René Leys a work strangely contemporary with our age of fake.