Taking the exemple of Y penser sans cesse by Marie NDiaye and Denis Cointe, the author demonstrates the mutual influence between the visual and the textual, as well as the many exchanges possible between artistic supports. In an attempt to understand the intermedial exchange of this artistic collaboration, which gave rise to a book as well as a film, the author detects three “ghostly” moments shedding light on the present-absence that haunts the supports: the “blank” identities of textual and visual bodies; the language of the portrait that penetrates the entire œuvre; the temporal folding that assumes a “ghostly” logic. A polymorphous work, Y penser sans cesse brings about an “intermedial haunting”, as the work simultaneously uncovers and conceals its themes, bodies, places and even authors as a result of the complex, fleeting and above all ghostly relationships between poetry, voice, photography and film.