Abstract: Consulting the manuscripts of Signé Malraux shows that Jean-François Lyotard removed an extensive reflection on the nature of his project, inspired by the Antimémoires, from his biography. The chronological imbalance of Signé Malraux and its displacement of different theoretical stakes in Chambre sourde reveals a crisis of the memorable in the work of André Malraux which reached its peak in the 1970s and which Le Miroir des limbes at once expresses and resolves.
