Abstract
The paper analyses the novel La plus secrète mémoire des hommes focusing on the relationship between the representation of time and historical experience. The novel refutes both the universality of both analytical and normative categories and historical representation through a hybrid novel in which the figure of the archive is emphasized. This article also intends to emphasize that postcolonial, or decolonial, criticism manifests itself in a constative rather than a performative way, limiting the effectiveness of the treatment of sensitive themes beyond the conceptual architecture of traumatic studies. The effectiveness of novels creates a space where the limits of knowledge can be questioned, especially when the concepts of history and modernity are criticized by the contemporary theories of history.
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