Cyril Camus will publish Grand-Guignol with Anacharsis Editions on October 16. The writer claims a passion for horror that began with books and was later influenced by cinema. From Guillermo del Toro to Stephen King, Camus revisits the monsters that shaped his imagination and defends a paradoxical idea: horror can be reassuring. Fictional demons have a decisive advantage over real fears: they do not exist. Camus describes this as an invitation to shiver in order to breathe more freely, a perspective he shares in our columns. He recalls a childhood story similar to Mexican filmmaker Guillermo del Toro's, about making a pact with monsters after watching a horror film. He also identifies with John Carpenter's proposition that horror movies will live forever. However, Camus prefers words over film, having been inspired by books since childhood, including The Exorcist. He argues that horror's charm comes from its ability to be deeply reassuring, as fictional threats are harmless compared to real-world issues like climate change or politics. The writer's novel Grand-Guignol is described as a relaxing read. The Thélyson Orélien case has become central to the literary season. Suspected of having used artificial intelligence to write C’était ça ou mourir, then caught in several cases of plagiarism concerning old texts, the Quebec author contests the accusations against his novel. The withdrawal of the book from the Goncourt selection has further amplified a controversy that now questions the entire editorial world. A mathematician, Mouhamadou Sy, returns on the calculation used to affirm that it was almost impossible that Pangram was wrong about the 20 passages of the novel presented as suspicious by "Balance ton Claude." The Académie Goncourt has removed Thélyson Orélien from its first selection, on the grounds of prior plagiarism and analyses concluding that the novel would "according to all likelihood" be produced with AI. A concrete clue, distinct from AI detectors, has been found in an article published in 2023 on a site then managed by Thélyson Orélien, a sentence that resembles a writing instruction left by mistake. This has joined a series of elements unearthed these past few days by several media and internet users around the author's texts. The debate has focused on the possible use of artificial intelligence, the reliability of detectors, then plagiarism cases. One aspect has been less examined: the calculation used to affirm that it was almost impossible that Pangram was wrong about the 20 passages of the novel presented as suspicious by "Balance ton Claude." The book industry faces challenges with the rise of AI, with discussions around the role of artificial intelligence in literary creation, transparency towards readers, and the future of human writing. The Académie Goncourt has introduced AI detectors in its court, sparking debates about the implications of such tools. The use of AI in bookstores and libraries is also being discussed, with concerns about the potential dispossessing of a profession. The issue of independent publishing's economic viability, the fatigue of teams, the ecology of the book, and the concrete conditions of a tense profession are being addressed. The independent publishing industry is exploring ways to integrate electronic invoices and the challenges of digitizing books for AI-driven catalog systems. Other topics include the role of literature in addressing climate change, the future of bookstores, and the importance of reading in public policy. The controversy around Louisa Yousfi's statements and the concept of "generic humanity" has also sparked discussions. Additionally, the impact of AI on the book industry, including the potential for AI to regurgitate advice for choosing readings, is being examined. The debate around the use of AI in writing is ongoing, with some arguing for transparency and responsibility, while others question the boundaries of human writing and AI assistance.