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But for Barthes, a structuralist semiologist first and a poststructuralist theorist later, that was tantamount to deviating from his own intellectual trajectory to apply himself to something that for much of his life he had conscientiously avoided: the novel. However, since the death of his mother, it was the only intellectual project that really kept him awake.8. It is not a novelty: the novel, of which he only wrote biographical "crumbs", was going to be called Vita nova.

In the transcript published in the Complete Works , Marty describes the conditions in which the manuscript of that idea was found: « Vita nova is composed of a bundle of eight sheets of format 21 x 29.7. Only the eighth is written on graph paper. The [url=https://dbtodata.com/india-email-data/]India Email List[/url] seven, on the other hand, are written on typewriter-type paper. This bundle was organized inside a red bound folder on which the inscription vita nova can be read . The first draft is written in ink, the additions in black or red pencil»10, write down. The "novel" consists of a series of variations on a general project written on successively dated sheets.

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The chronological order is what makes it possible to trace its evolution from the first time Barthes put it on paper, on August 21, 1979, to the last entry on December 12 of the same year, a few months before the accident. Each sheet otherwise contains a slightly different version of the general structure. The themes, instead, are repeated. If the déclencheur is the death of the mother, the punctumOne of those manuscripts is an enigmatic date: April 15, 1978, which Barthes associates in all versions with the phrase "the decision." Samoyault dedicates an extensive part of the last chapter of his book to that date, precisely entitled "Vita nova.