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Abstract: In the Totalitarian sphere, literature is categorised in a dystopian register that is built around a system that imposes values that are upside down. A fictitious pattern on the social-political structure is woven by Marin Preda. A literary work like Life as Prey (1977), which entered the memorialist pattern, indicated both the novelist's worldview and the origins of the fictitious text. A fresh viewpoint on the work is born out of the separation between the world and the I. A phase of the axiological perversion experienced by the dilemmatic creator is represented by the alienation. Literary works typically become chronotypes of the abandonment before a constrictive system of ideas, or parables of the tragism of the modern human. The literary tactics that range from the parodic return to history, the un-solemnization of the discourse, the capitalization of prosaism, to the extravagant mythologizing of the prosaic, manifest the upside-down perspective on the link between logos and existence. Fiction appears to transcend historical narratives in its relationship to reality by crafting a dystopian cosmos that reflects the confines of the human imagination. During a period when political discourse dominated cultural and literary discourse, leading to significant limitations, writers wavered between following societal norms and opting for internal exile as a means of maintaining their dignity, rebelling against authority, and withdrawing from the citadel. In this way, the 1960s and 1980s saw the manifestation of a response to topicality and, with it, a concern for the issues upsetting the existence of a person prepared to constantly relate to history, against the backdrop of some radical shifts in perspective in the daily political theory and praxis, with obvious implications for ethics and aesthetics