Un coup de pistolet au milieu d’un concert De l’écriture de la politique dans un roman

Closely examining the premise of an antinomy between the political and the literary identified by the author in the Stendhal quotation that comprises this essay’s title, this article contests a humanistic realism from which politics and some of its privileged tropes—collective narrator, a narrative that does not disqualify militant experience, and so on—seem to be unduly excluded.