David Ducreux Sincey's novel La loi du moins fort (The Law of the Weaker), published by Gallimard in 2025, takes readers into a disturbing world where childhood loses its innocence and becomes a breeding ground for violence and amorality. La loi du moins fort This is the debut novel by Ducreux Sincey, who, after studying modern literature, moved into the book trade and eventually joined the publishing house Gallimard, among other things as responsible for regional and international press relations and for the coordination of literary fairs and literary prizes.
From the outset, the first-person narrator reveals his deeply rooted traumas and radical philosophy of life, which leads him into a symbiotic and deadly relationship with Romain Poisson. It is not the law of the strongest, who naturally dominate, but a law that the seemingly weaker must apply in order to survive and liberate themselves. The unnamed narrator identifies himself as "the weaker one," who suffered under his mother's dominance his entire life. He is described as a victim whose desire for freedom overshadows everything else. The young politician Romain teaches him that it is not enough to defend oneself or endure, for all of that is only temporary. To truly live, one must eliminate the danger that threatens one's existence. The narrator concludes that he "did nothing other than destroy what would otherwise have destroyed him." This is presented as "the basis of our true nature": "kill before you are killed." The text is an "initiatory novel" and traces the development of the narrator, who begins as a victim and empowers himself by accepting and applying a brutal logic of survival. It is the law of those who, in a hostile world, see no other way than to prevail and become amoral perpetrators.
Cesare Pavese's motto precisely outlines the nihilistic philosophy that forms the core of this novel.
Les crimes that come against the code are a pauvre and banale chose par rapport aux crimes inouïs, subtils et affreux que l'on commet par le seul fait d'être vivant et pour s'en tirer tant bien que mal
Violations of the code are pathetic and banal compared to the monstrous, subtle and terrible crimes we commit simply by living and somehow getting by.
Content
- Childhood as the origin of evil
- From children's play to violence
- The imprinting through abuse
- Dependence, manipulation and power
- The "law of the weaker" as a philosophy of life
- Interior monologue and psychological realism
- Radical autonomy
- Political dimensions: Poisson as a Machiavellian
- This sentiment d'être unique, presque en paix
Childhood as the origin of evil
The novel does not portray childhood as a time of innocence, but rather as an era in which profound psychological traumas and amoral tendencies develop and solidify. As early as six or seven years old, the first-person narrator harbors a desire that fundamentally perverts his apparent childlike naiveté:
Je vais avoir six ou sept ans à ce moment-là et my ambition n'était pas de me faire des copains ou de m'amuser - je ne ne manquais ni d'imagination ni de tourments, si bien que je ne m'ennuyais jamais. En réalité, je cherchais plutôt celui qui me permettrait de m'affranchir de ma mère, celui qui aurait le courage et la force d'accomplir pour moi ce que je n'envisageais pas encore précisément comme le seul dénouement possible: la mise à mort de ma mère.
I was about six or seven years old at the time, and my goal wasn't to make friends or have fun—I had no shortage of imagination or worries, so I was never bored. In reality, I was looking for someone who would free me from my mother, someone with the courage and strength to do for me what I didn't yet see as the only way out: killing my mother.
This sentence reveals not only a terrifying premonition but also the fundamental cause of his psychological state: his mother as the source of unbearable torment. The early desire to kill his own mother is not a fleeting childhood thought but the formative vision of a "poetics of destruction" that anticipates his entire life and his later role as an "official gravedigger." His initial fascination with the morbid is already evident in the episode with the chicken feet: "I always wondered whether the chicken feet my mother ordered from the butcher were really only meant to entertain our cat, as she claimed, or whether they were actually for me, to satisfy my supposed penchant for the morbid." 1 The mother, who accuses him of having morbid tastes, seems to reinforce this inclination with her behavior—such as throwing chicken feet out the window. The narrator already recognizes in these acts of "disposal" a potential that will later manifest itself in a deadly form. Childhood thus becomes a dark omen in which evil is not introduced, but rather laid bare.
From children's play to violence
The novel shows how seemingly harmless children's games take a macabre turn and pave the way for actual violence. The burying of dead animals, an activity the narrator engages in from a young age, becomes ritually charged:
En digne héritier d'une lignée de fossoyeurs, et par un troublant présage, je grattais a carré de terre qui figurait un cimetière miniature. Pour en avoir un à moi. J'avais planté des batons pour édifier un mur d'enceinte, disposé des gravillons blancs pour marquer les allées et enterré tout ce qui tenait dans a boîte d'allumettes dont j'avais un stock inépuisable. Des fourmis, des sauterelles, all sortes of insects and parfois des mulots quand le chat, triomphant, déposait à nos pieds le produit de sa chasse.
As a worthy heir to a family of gravediggers, and driven by a disturbing premonition, I scraped out a patch of earth that formed a miniature cemetery. I wanted my own. I had driven sticks into the ground to create a perimeter wall, marked out paths with white pebbles, and buried everything that would fit into a matchbox, in which I kept an inexhaustible supply: ants, grasshoppers, all sorts of insects, and sometimes mice, when the cat triumphantly left its prey at our feet.
This childlike cemetery symbolizes the early form of his later work as a gravedigger. Romain's appearance reinforces this perversion of the game. He corrects the narrator during his "funeral ceremony" and demonstrates a disturbing expertise: "That's not how a funeral is conducted. I know about it. I can explain it to you if you want, and I can even show you." 2 Romain transforms the childish game into a serious matter, teaching the narrator the "art" of burial, which is later extended to human victims. Romain's ruthless nature is already evident in the episode involving the living burial of a kitten: "You know, I bury animals too, and it's more fun alive." 3 This cruelty is elevated to a "game," and death, whether of animals or humans, becomes a method of amusement or a demonstration of power. Even the "pranks" on the bakery and the mayor's office involving dog excrement are early forms of criminal manipulation and revenge. The novel's poetics thus highlight the fluid boundaries between childlike innocence and adult cruelty, often with a cynical and disillusioned outlook.
The imprinting through abuse
The narrator's ongoing physical and psychological abuse by his mother is presented as the fundamental basis for his personality development and his unconditional submission to Romain Poisson. This abuse is not merely episodic, but shapes his daily life and his perception of the world.
Alors que je devenais minuscule, écrasé par le gigantisme de all ce qui m'entourait, pris de vertiges et m'absentant de moi-même, elle me donna encore quelques coups de torchon sans grande convictions et, estimant que je n'étais pas un adversaire à sa taille, elle conclut: « Also lâche que ton père. »
As I shrank to tiny proportions, crushed by the gigantomania of my surroundings, overcome by dizziness and losing myself, she gave me a few more blows without much conviction and concluded that I was not a worthy opponent for her: "Just as cowardly as your father."
The mother uses physical violence—here with a dish towel—and verbal humiliation to control the narrator. One particularly brutal scene is the incident with the piggy bank, in which the mother drags the narrator into the cellar and abuses him there.
Ma mère, plus sanguine and impatient de se défouler sur moi, m'avait attrapé par une jambe pour m'entrainer à la cave. Come me debate, I'll take you to the front, I'll have to wait for the sol with the marches of the escalator, I'll have an essay from my agripper on the balusters of the ramp, on the other marches, with dents available to kill the wood, with the mains s'étaient Griffées à ses échardes, mais all my efforts available and vains. Le goût du sang sur mes lèvres mâchées, mes pleurs, mélange de larmes et de morve stagnant dans ma gorge, m'étouffaient, je suffoquais, j'avais demandé pardon, promis de me racheter, je l'avais suppliée de m'épargner, pardon, pitié. Étendu de tout mon long sur la terre battue, je me souviens que je cherchais à reprendre ma respiration. My mother is always on my side, I am waiting, the mains are on my eyes, she is penchée on her face, long-tempered, silent, and available to me with a smile on her face before her eyes. Elle m'avait laissé là, allongé, battu sur la terre battue.
My mother, who was more hot-tempered and couldn't wait to unleash her fury on me, grabbed my leg and dragged me down to the cellar. When I resisted, she pulled me onto my stomach, my head hitting the floor and then the stairs. I tried to hold onto the banisters and the steps, gritted my teeth, scratched my hands on the splinters, but all my efforts were in vain. The taste of blood on my bitten lips, my sobbing, a mixture of tears and snot running down my throat, suffocated me. I gagged, I begged forgiveness, promised to change, pleaded with her to spare me, for forgiveness, for mercy. I lay stretched out on the clay floor and remember trying to catch my breath. My mother then knelt panting on my back, braced herself with her hands on my shoulders, leaned over me in silence for a long time, and finally spat in my face before leaving. She left me lying there, beaten on the clay floor.
These extreme experiences of violence are not only a shock, but a recurring normality for the boy, psychologically deforming the narrator. They drive him to search for a liberator, and he finds him in Romain Poisson. Romain himself recognizes the narrator's trauma and instrumentalizes it for his own purposes, portraying the mother's murder as a "denouement" and a prerequisite for the narrator's liberation. Thus, the novel illuminates how profound trauma can lead to dysfunctional coping strategies and the acceptance of violence (as the only path to freedom).
Dependence, manipulation and power
The relationship between the narrator and Romain Poisson is the central element of the plot structure and is determined by a complex dynamic of dependence, manipulation, and power. The narrator sees Romain as his only chance for liberation from his mother.
D'une certaine manner, nous avions besoin l'un de l'autre, mais tandis que grandissait en my la certitude qu'il était celui qu'il me fallait, je dus redoubler d'efforts pour que ce sentiment soit réciproque et qu'il reconnaisse en my celui qui pourrait le seconder. Et pendant toutes ces années, je l'ai assisté avec le plus grand dévouement, l'abnégation la plus totale, comme si je lui avais vendu mon âme. Entre nous, ce fut à la vie à la mort, now this expression revête pour nous un sens particulier.
In a way, we needed each other, but while my certainty grew that he was the right one for me, I had to work twice as hard to ensure that this feeling was reciprocated and that he recognized me as the woman who could support him. And all these years I supported him with the utmost devotion and complete self-sacrifice, as if I had sold him my soul. Between us, it was a matter of life and death, even though that expression holds a very special meaning for us.
Romain, a born leader, recognizes early on the narrator's potential as a loyal henchman and "gravedigger." He exploits the narrator's childlike vulnerability to draw him into his plans. The friendship evolves into a symbiotic, amoral alliance in which the narrator finds his purpose in serving the "stronger" one. Romain dictates the rules and plans their shared future, which is based on his political ascent.
Il n'avait pas seulement un plan, il avail un dessein. This is what the premier act is, the genesis of a destination that will result in the failure of the mais not the saurait is rendre digne. This is why it is important to have aid, and this is what I am exposing, with the propres mots that are traduirais aujourd'hui par ceux d'abnégation, de fidélité et de loyauté. C'était ce qu'il attendait de moi. What I'm looking for is what I'm looking for and what I'm talking about.
He didn't just have a plan; he had an intention. This was only the first step, the beginning of a destiny that seemed to overwhelm him, but one he would prove himself worthy of. He would need help, though, and he explained this to me in his own words, which I would now translate as self-sacrifice, fidelity, and loyalty. That's what he expected of me: that I would follow him blindly, be devoted to him, and even entrust him with my soul.
The narrator, who sees Romain as a role model of strength and determination, readily accepts this role, even though he only later realizes the full extent of his responsibilities. Romain's career as "the youngest deputy and subsequently the youngest senator of the Fifth Republic" 4 This is the obvious proof of his manipulative brilliance, while the crimes in the background show how the narrator, as his "attited sleuth," discreetly "classifies" the "most delicate files," that is, eliminates the victims. The poetics of power unfolds here as a game of control and blind obedience, rooted in childlike dependency and leading to adult criminality.
The "law of the weaker" as a philosophy of life
The novel is characterized by a merciless and disillusioned view of human nature and society, developed through the experiences of the narrator and Romain. The titular "loi du moins fort" (the law of least resistance) becomes a radical philosophy of survival that justifies killing as a necessity.
“N'est-ce pas, d'ailleurs, le fondement de notre vraie nature : tuter avant d'être tué ?” "Et c'est ce que nous avons fait durant toutes ces années, vivre selon this règle élémentaire. Sans excès de violence, avec fatalisme, parce que c'était la voie sur laquelle nous nous étions engagés."
"Isn't that, by the way, the basis of our true nature: to kill before we are killed?" "And that's exactly what we've done all these years, lived according to this fundamental rule. Without excessive violence, with fatalism, because it was the path we had chosen."
This philosophy justifies his actions and explains his lack of remorse. This cynical attitude is already evident in his childhood, for example when Romain dismisses the lives of "old people" as useless for his political ambitions: "No, they are too old. They will be dead when I present myself, it's pointless." His description of the mourners at the funeral is also marked by a revealing cynicism: "Everyone seemed to be thinking only of themselves, to feel their own existence despite being close to like-minded people, and in truth, no one cared about our presence." 5 The world is portrayed as a place of hypocrisy and selfishness, where conventions are merely a facade. Romain's strategy for political advancement is based on the conviction: "People are idiots; they don't think with their heads. Therefore, you have to speak to their gut." 6 This perspective leads to a poetics of black humor and exposure, in which social rituals and human emotions are exposed as ridiculous or irrelevant. Even the idea that people perceive each other as an "annoyance," "disgust," or "threat" and want to eliminate them is presented as "accablante simplicité, élémentaire, dans l'ordre des choses."
The novel also explicitly addresses sexual assault and transgressions. This is particularly evident in two scenes involving Nathalie Ratot: first, in the cemetery, where Romain Poisson and the narrator sexually harass her; and second, in the nightclub restroom, where, at Romain's behest, the narrator forces Nathalie Ratot to perform sexual acts, including tearing her underwear, biting her, and forcing her to lick his blood. Nathalie's reactions range from initial laughter to screams and pleas, and she physically resists. Romain pays Nathalie afterward, underscoring the manipulative and exploitative nature of the events and raising the question of whether he paid her to submit to the narrator. These incidents are firmly rooted in Romain's cynical mindset of viewing women as objects of intense emotions who must be "scared to move." They reflect his willingness to cross moral boundaries for power and control.
Interior monologue and psychological realism
A central feature of the novel's poetics is the intense insight into the narrator's thoughts and feelings, portrayed through his interior monologue and a form of psychological realism. The narrator reflects on his traumas, his fears, and his rationalizations, creating a stifling atmosphere and illustrating the gradual transformation of a seemingly innocent childhood into a profoundly disturbed existence.
I don't want to establish a new version of what I'm talking about, but I'm still talking about the history that I'm applying to the dérouler, when I read it, a little, comment when I arrive in the summer. Car, without avoir été totalement éterminantes, nos jeunes années nous ont ouvert une voie. Une voie qui n'était, en théorie, qu'une possibilité parmi d'autres, mais qui fut, je crois, la seule que nous puissions emprunter.
I don't want to establish or impose one truth as superior to another, but rather, through the story I'm about to tell, I hope to make it a little clearer how we got to where we are today. Because even if they weren't decisive, our early years opened a path for us. A path that, theoretically, was just one possibility among many, but in my opinion, the only one we could have taken.
This passage underscores the deterministic element of the narrative, which presents the early years as an inescapable path for later development. The narrative is not merely a succession of events, but a psychological investigation that attempts to decipher the motivations and inner logic behind the extreme actions. Even in moments of greatest fear and despair, such as after the fight with his mother, the narrator remains introspective: “I didn’t cry, and yet my eyes were full of tears. Tears also flowed from my ears, almost like pure water.” 7 His inner struggle and his rational justifications for his actions are a recurring motif. The novel delves deep into the narrator's disturbed psyche, who remembers his mother as "an unbearable nuisance, a threatening fly" and views her death as an act of liberation.
Radical autonomy
The central thesis of the novel is that true freedom can only be achieved through the radical elimination of all threats and dependencies. The mother's "mise à mort" is the first and most important step on this path.
"You have everything you need to know, you have a certain degree of maturity, you don't have anything to do with your children, you can do it, in two circles, without defense. [...] you have nothing vivre, ta mère doit mourir.” "Je savais bien que ma mère m'aurait à l'usure, qu'un jour de rage excessive elle me tuerait ou me pousserait à le faire moi-même, de lassitude. C'était ce qui m'attendait."
“I must have been fifteen or sixteen years old that summer, and although I was quite mature, I was still a child, which means, in many situations, a defenseless being. […] If you want to live, your mother must die.” “I knew perfectly well that my mother would wear me down, that one day in a fit of rage she would kill me or, out of exhaustion, drive me to do it myself. That was what awaited me.”
This act of liberation, even though it is initially suggested by Romain Poisson and later carried out jointly, gives the narrator a deep feeling of freedom and uniqueness:
Besides, my heart has a sentiment that is unique, that is the premier man of histoire de l'humanité accomplir ce gesture. J'ai espéré, cherché this ivresse, en vain.
None of those other murders made me feel unique, the first person in human history to have committed such an act. I hoped for that thrill, I searched for it in vain.
But ultimate autonomy requires the elimination of even the mentor and liberator. The epilogue reveals the killing of Romain Poisson as the final act of self-empowerment.
"Aujourd'hui encore, tout le monde croit que Romain Poisson, se sachant démasqué, a fui loin d'ici. Et je vous ai moi-même dit qu'il avait disparu. Mais ce n'est pas tout à fait exact. Car c'est moi qui l'ai fait disparaître." "Je me suis senti bien. Presque en paix."
"Even today, everyone believes that Romain Poisson, who knew he had been exposed, fled far away from here. And I myself told you that he had disappeared. But that's not entirely true. Because it was I who made him disappear." "I felt good. Almost peaceful."
This act is the radical fulfillment of the "law of the weaker," as the narrator now tolerates no one "stronger" than himself. The poetics of freedom are presented here as a violent process that requires isolation and the abandonment of all bonds in order to achieve absolute, albeit destructive, autonomy. The narrator becomes what he initially sought: the one who has the strength and courage to kill in order to survive, even if it means cementing his own solitude.
Political dimensions: Poisson as a Machiavellian
La loi du moins fort The novel can be read as a political novel in several aspects simultaneously, even though the protagonists' political ambitions only come to the fore after their childhood experiences. The novel follows Romain Poisson's rise in French politics. He becomes first the youngest member of parliament and then the youngest senator of the Fifth Republic. His stated purpose in life is to run for office and pursue a political career. Even as a child, he plans to win elections and make his name known throughout the village so that people will vote for him if he runs for office. He considers studying law to achieve his political goals.
The first-person narrator is Romain's parliamentary assistant and chief of staff, or, as he puts it, his "jack-of-all-trades" and "gravedigger." He is heavily involved in Romain's "most difficult acts," which include eliminating people who "push confessions" or "talk too loudly." These murders are described as "works" that have made Romain "an exceptional figure and the creator of a unique body of work." The need to eliminate political opponents or obstacles is a central element of their "work."
From a young age, Romain teaches the narrator strategies of public perception. He emphasizes the importance of people respecting them by appearing respectable. They practice politeness to be a "calling card," as it's put. Romain plans to spread his name everywhere to get people to vote for him and to identify the narrator as his "friend" without revealing his own name. He is convinced that to win votes, one must appeal to people's "guts," not their minds. The entire narrative revolves around building a dynamic relationship based on dominance and submission. Romain seeks someone to serve him and sell their soul. He imparts the philosophy that one must eliminate "danger" in order to truly live, applying this directly to the narrator's mother, as she is an obstacle to Romain's career and the narrator's life. Adulthood is described as a state in which one must be "ruthless" to succeed.
The novel reveals a cynical view of political processes and human behavior. Romain believes that people are ready to condemn anyone and that the list of scapegoats hardly ever changes. He considers journalists to be purveyors of "nonsense." Politicians are portrayed as hypocrites who shake hands, put on smiles, and "solve problems" without any real substance. Society is prone to "witch hunts" and paranoid delusions. Romain sees people as "idiots" who think with their "guts" and are easily manipulated by superficial friendliness and "dirty jokes."
Even in their childhood, Romain and the narrator launch a kind of "campaign" against the baker Brigitte Martot, whom they consider a political opponent because she hates children. The "bombing" of her mailbox and the smearing of the town hall with dog feces during the July 14th celebrations are early acts of resistance and demonstrations of power, foreshadowing the later, more serious political manipulation and violence. Romain's actions are often motivated by personal revenge, as his plot against the baker demonstrates. Later, he uses his position to promote Christophe Tuyot's candidacy after "humiliating" him, making Tuyot one of Romain's "obligated" and subsequently performing "unspeakable services" for them.
Romain Poisson embodies Machiavellian principles. His purely power-oriented thinking is evident in his ignoring old people at the train station, since "they'll be dead by the time I run for office, it's no use." He studies political thinkers like Machiavelli, Hobbes, and Montesquieu, which underscores his philosophical foundation for acquiring and maintaining power. Romain's actions reflect his ruthless pragmatism. He manipulates people, as he does by humiliating Christophe Tuyot and then turning him into a political "conscript" who will later perform "unspeakable services." Eliminating "dangers" is a necessary step for him, as expressed in the narrator's portrayal of him as his "gravedigger" of politically inconvenient individuals. Early childhood actions foreshadow later, more serious political manipulations and acts of violence.
There is no time for simple defense, the tenir is good, there is no time left. On ne résiste pas indéfiniment. If you want to live, your life will be in the environment for you to live. If you don't have the danger, you'll have to worry about the auras plus the force of the tenir at distance. Et tu mourras. If you live, the danger is real. You don't have to worry about the content of the carter. Tu dois l'éradiquer. If the danger persists, then existence is menacée, car finira par arriver le jour où tu ne seras plus capable of lui résister. Éliminer le danger, supprimer la menace: si tu veux vivre, tu n'as pas d'autre choix.
It's pointless to simply defend yourself, to hold out; that only lasts for a while. You can't defend yourself indefinitely. If you truly want to live, you must influence your environment so that it enables you to do so. If you merely avert the danger, the day will come when you no longer have the strength to keep it at bay. And you will die. If you want to live, the danger must disappear. You cannot be content with merely averting it. You must eliminate it. As long as the danger exists, your existence is threatened, because at some point you will no longer be able to resist it. Eliminate the danger, eliminate the threat: if you want to live, you have no other choice.
This statement is a central pillar of Romain's power politics, which justifies violence and even murder as legitimate means to achieve his own goals, as is the case later in the story with the "elimination" of people who "force confessions" or "speak too loudly." Romain himself views the realization of his will as a matter of "vie pour lui et la mort pour les autres" (life for him and death for others).
the novel La loi du moins fort David Ducreux's Sincey is thus deeply rooted in political themes, not only depicting the obvious political career of one character, but also examining the psychological mechanisms of power, manipulation, and violence that underpin that career. It is a dark exploration of human ambition and corruption that begins in childhood and continues into the world of adult politics.
This sentiment d'être unique, presque en paix
The novel ends with the narrator murdering Romain Poisson, a scene that appears both shocking and, within the context of the overall narrative logic, inevitable. After killing his mother, who gave him "this feeling of being unique, of being the first person in the history of mankind to have accomplished this act" 8 Having been granted power, Romain Poisson was the last remaining authority, the last dependency. The “loi du moins fort” dictates that every threat must be eliminated, and Romain’s existence, his manipulative influence, finally became such a threat to the narrator’s ultimate autonomy. The feeling of liberation after this final act is immense. This “peace,” however, is profoundly disturbing, as it is based on total isolation and the negation of all human connection. The narrator is now the sole agent of his own existence, detached from maternal tyranny and the manipulations of a mentor.
The novel paints a bleak picture of human nature. Childhood is portrayed as a terrarium where cruelty and destruction can flourish unchecked, fueled by trauma and neglect. The narrative style is relentless and direct, without glossing over or condemning. Rather, through the narrator's detailed inner monologues, the author invites the reader to understand the psychological mechanisms that lead to such acts. The absence of remorse and the almost philosophical justification of violence ("killing before being killed") raise questions about the nature of evil and humanity's capacity to transgress moral boundaries.
La loi du moins fort The principle of a cynical initiation ritual shows how a victim becomes a perpetrator, experiencing a perverse form of self-discovery in the process. The novel is an uncomfortable reflection on the consequences of extreme trauma and the potentially destructive power of the will to survive, which, when decoupled from empathy and societal norms, becomes a brutal struggle for absolute freedom. It is a novel that resonates and prompts reflection on the dark sides of childhood and the abysses of the human psyche.
This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.
Notes- “Je me suis all demandé si les pattes de poulet que ma mère réclamait au boucher devaient seulement, comme elle le prétendait, amuser notre chat ou si, en réalité, elle me les destinait, estimant satisfaire ainsi le goût qu'elle m'accusait de cultiver pour le morbid.”>>>
- "Ce n'est pas comme ça un entrement. Moi, je m'y connais. Je peux t'expliquer si tu veux, et je peux même te montrer.">>>
- “Tu vois, moi also j'enterre des animals, et vivants, c'est plus drôle.”>>>
- “Plus young depute and plus young senator of the Republic”>>>
- “Chacun semblait ne penser qu'à soi, éprouver sa seule existence malgré la proximity de semblables et, en vérité, personne ne se soucia de notre présence.”>>>
- "Les gens sont des idiots, ce n'est pas avec leur tête qu'ils réfléchissent. C'est pour ça que c'est à leurs tripes qu'il faut parler.">>>
- "Je ne pleurais pas et pourtant j'avais les yeux pleins de larmes. De mes oreilles aussi coulaient des pleurs, presque de l'eau pure.">>>
- “This sentiment is unique, this is the premier man of the history of humanity, accompanied by a gesture.”>>>
