Speech formation, which is fundamental for interpretation, is analysed alongside text-external aspects. In order to raise sympathy and emphathy, the childlike narrator integrates the reader into the fictive course of action by means of appeals, dialogues and judgements. He, like all the other protagonists, imitates the spoken French by omitting phonemes, allowing grammatical and semantic incoherences, signals of structuration, onomatopoeia and elements of childhood and youth language. Lingual borrowings, especially Anglicisms, are enumerated and analysed. Narrative ellipsis, prolepsis, analepsis and punch lines refer to experiences and expectations. In order to parody, convert or put into question the speech, exaggerations, alienations, extenuations are used. Good and bad feelings are showed or mitigated by reduplication, aposiopesis, enallage, epanalepsis, hyperbaton or grammatical ellipse. Denomination, comparison, allegory, metaphor, metonymy and synecdoche aid in characterising protagonists as well as situations. Nearly without the aid of explanations, an atmosphere of comfort and comprehension is created by humorous dialogues. At the same time, the partly funny, partly ironic stories do not lack a certain criticism concerning the French post World War II society.