The article highlights the imprint and poetic requirement of Henri Michaux in his work on the portrait of the poet in barbarian. The author returns, from a complex game, to the question of the plural being. Michaux diverts from the recognition and republic of letters, to make of it to be, not only the barbarian and the pariah of French literature but also his «Mlecha». Michaux’s work and life are part of a reflection on literature in its relation to being as a machine to be and to think.

Often called experimental thinking, Michaux is a discreet poet, painter painterand writer.