At the frontier between French studies and translation studies, this article examines the pastichielle dimension of translation in On est toujours trop bon avec les femmes by Raymond Queneau, supposedly translated from Irish into French. This study aims to determine what the pseudo-translator does to persuade the reader that the text is a real translation. This relies on the assumption that a correlation exists between literary pastiche, which essentially consists, in imitating the style of a particular writer to the point of saturation, and pseudo-translation, which presents an original text as a translation. Indeed, it appears that On est toujours trop bon avec les femmes, is an “imaginary pastiche,” meeting Gérard Genette’s saturation criterion of literary pastiche. With this in mind, there is reason to believe that the pseudo-translation’s pastichielle dimension, which fundamentally suggests an actual underlying translation, is expressed through marks of translation, or strangenesses, saturating the text. The aim of this study is to reveal these marks in the architectonic of the novel, by examination of various elements potentially saturated and conditional to the credibility of the hoax.