《戴眼鏡的女孩》是默迪阿諾唯一收錄於青少年叢書的作品。內容由主敘者的「傳記微素」構成：兒時在巴黎的生活、缺席的母親、從事不明交易的父親……這些主題與小說家其它作品呈現互文關係。然而，如果把作者之前的作品視為「典範藍本」，《戴眼鏡的女孩》作為吉奈特定義下的「後承文本」呈現了明顯的轉變，比如：主述者為女性、與父母關係良好……，這些轉變似乎打破作者以往與讀者建立的「虛構性自傳契約」，引起「多本讀者」的注目。

2012年《雷能手冊》出版的《默迪阿諾》專刊揭示書中諸多轉變多半來自桑貝的想法。《戴眼鏡的女孩》對默迪阿諾 而言像是一場風格演練。此書是否為一個特例？它與默氏其它作品有無關連、延續性？在默氏的作品中占了什麼位置？本文將探討《戴眼鏡的女孩》與默氏其它作品的關係，探討該書羊皮紙底層隱跡書寫的脈絡。

Catherine Certitude is the only work of Modiano in the youth collection. It is highly recommended by general readers, but few specialists talk about this book. The book is composed by the biographème of the narrator, like a childhood life in Paris, an absent mother and the complex transactions of the father... These stadium rouse the intertextuality between Catherine Certitude and all the other works from Modiano. If Modiano’s previous works are regarded as a hypotext, Catherine Certitude as defined by Genette considered as the hypertext, shows transformations. For exemple : the narrator is a woman and she gets on well with her parents... These transformations seem to break the ‘‘autofiction pact’’ established with readers in the past and attract the attention of the multiple text-readers.

In fact, this research is motivated by Sempé’s retrospect on Catherine Certitude (Cahier Modiano: L’Herne 2012). According to the illustor, the prototype of Catherine is his own daughter. Since we know the transformations in this book comes fr om Sempé’s idea, Catherine Certitude is like an exercise in style for Modiano. We attempt to explore the relation between the hypotext and the hypertext and recongnize his writing in palimpsest. Besides, will this book influence the later work of Modiano?