Abstract: This article studies the aborted attempt that the Le Démon de l’Absolu constituted by aligning itself, on the one hand, with the biographised, with a clearly metaphysical portrait and, on the other, with the biographical, with the writing of the Lawrencian adventure, as well as biography as a specific genre, whose constraints were analysed by André Malraux then rejected as antithetical to his creation. This aporia is surpassed by Antimémoires, which owes a great deal to the Démon de l’Absolu.
