Death is inexpressible and however it is spoken. In Barbey's work, it is even a mundane topic what the narration relates is the process of dying and after death. Barbey tells death by means of another kind of representation: the personal or intratextual myth. Recurrences, opposites, branching, etc., which according to his own logic of different narrative possibilities, make up Barbey's myth: his way of expressing death. some structures of the narrative, some haunting figures of speech and personal creations occur regularly in his work where he tortures history and time so as to make them mythical and lethal (for instance : the myth of decapitation where the narration is told as a beheading). Although there are structuralistic processes denying time (the enclosed narration is then denied by the enclosing narration). An "end of race" myth appears: the text becomes a memorial and sometimes it is even reported by dead characters... the expression of death belongs to a macabre esthetics (illness, physiological descriptions) built on decomposition during life itself. But what is macabre is not realistic. Death gives beauty because it is attractive and sexuality is then linked to death. This mythology of sexes is based on transgressions always aiming at killing. The triangular human relationships thus created are doomed to fail and so a myth appears: the "dream of extermination". Reversibility is a productive structural myth in the death narrative: Barbey reverses structures, inverts the outline of his fictions and builds his own mythical structures and lethal speeches, especially about the sacred. Death is put into words through the spreading out of matrixes, through the writing of the intratextual lethal myth itself. the chain of images, of thoughts, systems and metaformes deriving from themselves and repeated from one text to another only have to be extended or reversed so that the reader notices that Barbey talks about death, thanks to the composition and reconstruction of his own myths.