In vino veritas ou faut-il boire pour comprendre Erofeev?

The purpose of this article is to develop an approach to integrating a recorded public reading of a novel by its author into literary research. More specifically, the article focuses on the recording of Venedikt Erofeev's reading of Moscow to the End of the Line in 1980. This public reading raises the problem of literary interpretation and the voice in literature. Indeed, due to Erofeev's double interference during the writing and the public reading of the text, this recording could possibly restrict the interpretative diversity of the work. However, the context and the nature of this public reading do not necessarily lead to the pitfall of a strictly author-centric interpretation. Rather, Erofeev's recorded reading is a reminder of the intrinsic vocality of the work--an aspect of the text that can be lost in repeated silent reading. [ABSTRACT FROM AUTHOR]