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The article proposes to study the creative process at work in the work of Thomas Bernhard through his text itself and beyond the mere biographical reference, by attempting to show how his style directs him, beyond the utterance, toward a denunciation of semblants, social order, and the world of One, in a movement that seems to aim at the exhaustion and derision of meaning, in search of its cause, but also at the expulsion or “extinction” of the hateful flame in a tension toward its inextinguishable source. In some respects, comparisons and parallels are proposed with the writing processes at work in the work of Franz Kafka, from the point of view of the respective relationships of these two authors to some form of social “misinscription,” of subjective precariousness that is first inscribed in the body, via the lung disease that they have in common, and which pushes them to go through a deconstruction and a reversal of order and meaning in an attempt to identify the foundations of their presence in the world, and to make their own voice emerge, in a movement of breathing and re-originarization through writing, rewriting the minimal coordinates of their being.