As Valérie Mailhot notes in her article « The" revolutionary dislocation" of bodies in Josée Yvon’s writings », the author and her poetry are « Offset with the ideological groups and movements of her time. Offset because [Yvon] published her first book, Filles-commandos bandés, in 1976, at a time when Quebec’s counterculture is on the way to institutionalize itself, but also because within the counter-cultural movement Yvon remains a figure apart, as her texts disturb by their radicalism and their violence. » Marginal author, ranked by Isabelle Boisclair and Catherine Dussault-Frenette in the category of the « naughty girls » who « show themselves rebels [...], speak loudly, shout, cry out in rage, [...] drink, are not afraid of anything and risk everything. [...] Naughty girls [who] speak of sex, and bluntly », Josée Yvon seems at first glance irrecoverable, infrequentable, inadmissible. However, it is precisely this reticent trait of the author and her poetry that is at the heart of the numerous re-readings proposed by contemporary critics and writers. To inherit from Josée Yvon is also – and above all – to inherit her legend, her sulphurous reputation as a « naughty girl ». What about this legend ? What are the themes that keep coming back ? Critics evoke the critical silence around her work, the concealment of her texts and her figure by Denis Vanier, the scandals that hit the headlines, drug abuse, prostitution, AIDS, the violent charge of her work, both in poetic expression and in the choice of recurring themes that cut across certain aspects of her biography. These aspects of the legend, if they are often challenged, put at a distance by critics and writers, are nevertheless the basis of many of the rereadings and staging of Josée Yvon in contemporary texts. In order to give an overview of these rereadings, we will focus on the appearances of the author and her work in a corpus of various texts, reviews, essays, testimonies and fictions published since 2000. Our subject will be articulated around the aporias linked to Yvon’s legacy, even to the contradictions and paradoxes that accompany the appropriation of a work considered impregnable. We observe in the works studied a thematic filiation more than an aesthetical one ; few recent writers who explicitly cite Josée Yvon as an influence have a style or literary universe reminiscent her’s. The multitude of presences in contemporary texts allows us, however, to think of a renewal of the yvonnian legacy, marked by the profusion of tributes and quotations, aesthetics and filiations sometimes unexpected, where it is often the common that prevails over the individual, the plural on the singular, the serial on the unit. Although Yvon’s texts are still experiencing editing problems, most of them not being published, the poet nevertheless imposes herself as a common literary reference, widely shared and even endowed with a certain aura of prestige; although originating from the counter-culture, her texts do not only evolve under the cloak, in illicit circuits. Theses are written or prepared on her work ; newspapesr and scholarly articles are devoted to her ; tribute shows are dedicated to her. The heirs of Yvon are sorting through the legacy, choosing the aspects that still resonate in the present and which can be combined with a discourse of resistance to dominant norms.