Many writers have experienced a period of time in jail for different reasons. Among others mention could particularly be made of François Villon, Maquis de Sade, Guillaume Apollinaire, Paul Verlaine, Jean Genet and Frederic Beigbeder, all from France. The latter is a highly publicized personality in his country, especially since the publication of his novel 99 Francs became a best-seller in 2000. However, on the night of January 28, 2008, Beigbeder was caught in the act of consuming cocaine on the hood of a Bentley in the street on a festive night, with a group of artist friends. So he was arrested by the police and jailed with a friend, the French writer Simon Liberati. The other revellers escaped the police. It was during the three days of his detention that Beigbeder was confronted with the work of memory, through the memories of his past, especially his childhood to rebuild his identity and try to defend his posture as a marginal writer (Meizoz, 2011). The winner of the Renaudot prize in 2009, Un roman français, is an autobiographical narration in which the author finally decided to explore his atypical personality to better justify his vision of the world while pointing an accusing finger at his country. This is because, in his opinion, it is only the fruit of the tree that is France. His individual/personal history is thus related to social history or socio-political realities in France. Therefore, this article questions the nature and the contours of the relationships that the narrator-hero of Un roman français maintains with his society, France. In other words, we are trying to understand and explain or justify the logics underlying these dialectical relationships. The matrix and illustrative element of the antagonism between the novelist Beigbeder and his native country is his arrest and his imprisonment. Indeed, the case of Frédéric Beigbeder illustrates the fact that the individual, out of pure selfishness and pride inherent in human nature, tends to make private choices and behave in a transgressive manner, to the detriment of society. Life in society is governed by laws, rules and the moral and ethical principles that guide and condition human actions. Consequently, each individual is bound by the conventions and values that govern their social universe. However, in Un roman français there is a break, almost a radical divorce between the microcosm that is the individual subject and the macrocosm that is the social subject. Thus, the narrator-hero-author Frédéric Beigbeder proceeds, in his autobiographical project, to a staging of himself under the prism of the social realities with which he is confronted. It turns out that Beigbeder is a libertarian, individualistic and hedonistic individual. He starts from his painful prison experience to denounce the conditions of detention in France, while expressing his disdain for his native country in a resolutely pamphleteer tone. So, it goes without saying that the novelist is completely out of phase with ultra-capitalist, paternalistic and moralistic France, which is properly pathological and therefore agonizing, even alienating. It is important to note that France is targeted by the author from its metaphorical title: Un roman français. Beigbeder, speaking of his individual self in close relation to the social self, manages to accuse his native France which is, in his opinion, a liberticidal society because it stifles or limits the development of the individual trapped in an alleged ‘‘freedom’’. According to the writer, his country is not a F/freedom land. Upon reading this title, Frédéric Beigbeder’s life would be the (more or less broken) mirror of French society. The writer sees himself as a pure and hard product of his society: he correlates his life, his personal history with the collective experience. In other words, Beigbeder’s autobiographical project problematizes the individual through society. In this sense, his initiative is part of the regime of satirical autosociobiographism.