Abstract

In his literary and critical work, Maurice Blanchot has not explicitly addressed the problem of secret. Yet a careful look at the dynamics that innervate his work shows how the secret is constantly present. Analysis, then, must try to intercept the secret in its precipitation into writing, in the modulation of themes apparently diametrically distant from it, in the inexhaustible excavation carried out on the language in search of the “secret” that constitutes it but that does not allow itself to be captured by it.