In this article we will observe Sartre sketching, elaborating, and polishing characters, most of whom he carried around in himself for almost fourteen years. In short, we go back to the beginning of the question of the relationship of the writer and his work, relying above all on the
manuscripts we have been able to consult. We postulate, and we will see in the course of this article if it is true, that the choice of writing in a certain way, of inventing a character who takes shape in a particular way, can be conceived as the transformation of a real body into an imaginary
one. J. F. Louette expressed it very well in 1996 when he stated that Sartre writes "to change his lymph and blood into ink: to get rid of himself thanks to the sheet of paper, which is not himself; in short … to change the contingency of the body into the necessity of art." Thus, the
artist is the man who chooses to create imaginary objects in reality, but also and above all (from the ontological point of view), the man who chooses to create the real world in imagination, whose perception of the situation is in itself creation.
Sartre Studies International publishes articles of a multidisciplinary, cross-cultural and international character reflecting the full range and complexity of Sartre's own work. It focuses on the philosophical, literary and political issues originating in existentialism, and explores the continuing vitality of existentialist and Sartrean ideas in contemporary society and contemporary culture. Each issue contains a reviews section and a notice board of current events, such as conferences, publications and media broadcasts linked to Sartre's life, work and intellectual legacy.