[1] While still a student, she discovered the shock of surrealism; She read André Breton's Nadja first, hand copying his Mad Love [fr] and the Anthology of Black Humor.

Later, against what she considered to be the programmed liquidation of singularity, love and distraction, she confided that "with the surrealists one breathed, if only to discover the multiplicity of horizons what will have opened this unique attempt in the twentieth century to think all man?

Evelyne Sullerot's book Le fait féminine (Fayard, 1978) and Marie-Françoise Hans and Gilles Lapouge's Les Femmes, pornography, and erotism (Ed de le Seuil, 1978), were inspirations, but also figures such as: Simone de Beauvoir, Marguerite Duras, Benoite Groult, Germaine Greer, Gisele Halimi, Elisabeth Badinter, Annie Leclerc, Xaviere Gauthier, Luce Irigaray, and Helene Cixous.

None were spared, and in contrast to their "ideological lures", "cretinizing sorority" and "staggering rage of power", which she describes as "Stalinism in petticoats", Annie Le Brun writes, for example: Morality and nonsense, which, far from being inherent to the feminine word, arise as soon as we want to reject all crime on the other sex "; it is to be regretted "to hear repeated everywhere today as an established fact that there are no voyeur women, that there are no sadistic women, and last but not least, but is the ba ba of the neo-feminist blindness, that the look is a phallic function.

[3]In her pamphlets on this feminist recruitment, a militancy according to her close to the ideological terror, she rejects the logic of identity and power that mutilates the imaginary lover and locks women in the discourse of the same, in a conformation to roles (wife mother, working woman, etc.