Abstract
Nicolas Mathieu, as the successor to Annie Ernaux, fits perfectly into the image of the class defector. This filiation is reinforced by the author through conscious or unconscious strategies of self-creation of his posture on the media scene. Paradoxically, it is precisely through the prism of their differences, notably their addiction to social networks and the choice of fiction, that Ernaux’s heritage is most apparent in Nicolas Mathieu's work.