y Bébel-Gisler, a sociolinguist and member of the C.N.R.S, wrote Léonora : The Buried Story of Guadeloupe as a celebration of the culture of her native island and as counter-discourse to the French national course. Basing her text on a series of interviews conducted in Creole ' Léonora, a cane worker born in 1919, Dany produces a novel in the e of the testimonio in which she maintains many passages in Creole. Even though Bébel-Gisler appropriates Léonora's voice, her goal is didactic and militant and she accomplishes a literary act of translation that be defended as a gesture of solidarity meant to explore and promote e cultural practices of Guadeloupe as a powerful force of resistance.Th is article examines the American version of Léonora translated by Andrea Leskes, published by University Press of Virginia, in order to determine whether this gesture of solidarity is renewed in the translation. attempting to answer the Bakhtinian question, "who is speaking?", three particular problems are treated : the use of Creole, the dialogical link between Creole and French, and the counter-discursive nature of the novel.