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"Divagation", which can be translated into English as wandering, rambling, ranting or even trespassing, is a literary "intergenre", closely tied to a norm and an interdiction. As an "intergenre", divagation appears in a variety of forms. We notice, however, a few recurrent elements: distance from the norm, movement and a special relationship with time and space. From the point of view of the norm, the subject of "divagation" can be perceived as a rival for the appropriation of a territory while from the point of view of the divagation, he might only be "passing by". As he "divagues" in space, the subject reveals the rhizome nature of that space, in which all points are connected to one another and in which the subject can wander in infinite configurations. Freed from the past and the future, the subject of divagation wanders in the present and his movement becomes a presence. Divagation goes beyond the antagonistic view of the norm and even sometimes embraces "error" as one of its components. The subject of divagation, with his ambiguous nature and consciousness, finds himself "at home" in postmodernity. After 1960, the number of books that claim to be "divagations" raises considerably, which can be explained in part by a hasty interpretation of automatic writing, the vulgarization of psychoanalysis and a major change in the status of madness. After 1970, divagation is often perceived as a "reverie" and is developped in poems with an emphasis on the "I". Another interpretation of divagation, this one closer to biography, also appears in the blog. The ease of publishing texts on the internet, the absence of censorship and the absence of a reading panel play an important role in the process. Examples are taken from diverse works of divagation by Rejean Ducharme, Louis Gauthier, Marc Trillard, Stephane Mallarme and Benjamin Peret amongst others. Particular attention is given to surrealism and pataphysics, each of which has a different way of divagating.

Anne Hebert has produced a variety of works which act like a mirror with multiple reflection effects. The main themes of love, death, and of writing are integrated in the majority of the novels, in the framework of a fictitious autobiography of a character. Reconstructing the past, the main character daydreams and looks at a mirror which reveals changes. The reflection of this person in the plot is doubled at the level of the writing which reflects itself through the process of autorepresentation. Lucien Dallenbach's theory expressed in The Mirror in the Text, helps us bring out the components of autorepresentation in the novels by Anne Hebert. The first chapter deals with the reflection of the enunciation taking into account the aspects of the production and of the reception of a text as well as the variety of textual metaphors. The second chapter concerns the reflection of the fiction. It analyzes the position and the importance of the "mise en abyme" in the novels as well as the different degrees of the text. The concept of "hypertextuality" in Gerard Genette's Palimpsest allows us to define the relationship Anne Hebert's novels maintain with other French, British and American literary texts. The problem of the origin of the work of art and of poetic creation forms the subject of the third chapter. The texts reflect their origin, which in Anne Hebert's novels stem from an encounter of the main character with death, thus reenacting Orpheus's plight. Via a real or a mental trip to the kingdom of the dead, the main characters draw their possibilities of art. At the same time they compensate for the absence which death has produced in the act of narration. The presence of orphic poets and texts appearing in Anne Hebert's works through intertextuality and "hypertextuality" enhance the characters' orphic experience in the fiction. To a varying degree, all the novels renew and reflect the orphic myth of creation and liberation.