Our article focuses on the poetic texts conceived in a dissimilar politico-historical space. In the Le Carnet du Bois de pin (1940) Francis Ponge approaches an object which contains, at first sight, no historically distinguishing feature, but which nonetheless gives rise to the emergence of a definite temporality. The process adopted by Ponge echoes that of Giorgi Léonidzé, Georgian symbolist poet (The Tree, 1931). The purpose of this study consists in demonstrating by which methodological and conceptual means the literary text arrives to get over the historicity in order to appropriate the notion of the pure literary text, constituting, nevertheless, the political writing.