Abstract: In La Foire (1946), and then in Le Printemps des éclopés (1980), Robert Reus gives a noble name to his avatar. This choice, opposed to his political convictions, might seem contradictory at first. But his status as a novice writer presents certain analogies with that of the nobility, marginalised by democracy. This study shows that the author has been the subject of interrogations linked to the hope for a violent change of status, and thus social identity, which the idea of nobility incarnates.
