Alone among texts analyzed, Soumission describes no battlefields. Civil war diffuses into street violence. The electoral crisis, in which the Muslim Brotherhood prevents the National Front from coming to power, is handled behind the scenes. The Roman tradition’s tropes, however, frame France’s social dysfunction as raging civil war: a republic fails and an oriental empire modeled on ancient Rome takes its place. Allusion – streets in Paris, squares encoding Roman institutions, towns commemorating Crusade battles – retells France’s dystopian future as a rerun of history since Augustus imposed peace through empire. The novel’s protagonist faces a personal crisis as he relives the life of his research interest, Huysmans: the paradigm of decadence converted to Catholicism. His perverse conversion, however, exposes the present refoundation as a return to a decadent political theology. Soumission’s Muslims, all nativist converts who establish a Nietzschean empire of domination, aim above all to subject women. Once again, orientalism projects onto an apparently foreign other the abjection residing within the self. The novel’s poetics accuse us of hypocrisy if we think we are any better.