Family censorship and legal tools of repression prevailed very early on: Pierre Guyotat’s texts, and his part in the genesis of these texts were to be entombed, silenced. It was necessary to place oneself “on the sole plane of literature”. Instead, Guyotat responded by exaggerating his figurations and by accelerating the rhythm of his language. Above all, he has deepened the meaning and scope of disclosure: to publish is then to lift the secret on the inextricable collusion of work and existence, and obliges to take them together or reject them simultaneously. The vital necessity of the work is what censors, new and old, cannot suppress.