Forging against the sentencing of the novel at the beginning of the first Manifesto of Overrealism, The last nights of Paris, published in 1928, marks a break. It is indeed a novel, admittedly written to the first person and a suspect realism, but which nevertheless takes back all the poncifs vitreous by André Breton: descriptions, ‘catalogue image superpositions’, characters, psychology. If you compare Nadja, where the hero is replaced by me, iographiq...