| Summary: | Protean, the work of Sophie Divry, begun in 2010, intrigues with its relationship to irony. She indeed seems to constantly summon her, especially at the beginning of the novelist's career, when Divry herself never uses the term. Moreover, the forms of irony also evolve in this work, from a sarcastic irony, noticeable in particular in La Cote 400 and La Condition Pavillonnaire, to an irony of fate, placed at the heart of the latest texts published (Trois fois la fin du monde, Cinq mains coupées). It is this ironic journey that will be retraced in this article : the exploration of the forms retained as well as their effects of meaning will be extended by the formulation of a series of hypotheses explaining the changes observed in Divry over the past decade.
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