To see a philosopher of Badiou’s stature engaged in such sniping is a shock, given the operatic architectonics of much of his work, but it is also to see him as MBK saw him: petty, self-aggrandizing and paranoid (not unjustly) about betrayal. This is one of the troubling things about MBK’s book: Belhaj Kacem charges Badiou with a number of misbehaviors and seems to be telling the truth. And yet it’s also true, as Badiou counters, that he tells it in an anecdotic and even vulgar fashion.The critique comes couched in a surprising amount of name calling, enough that his future translator may have to resort to the innovations in invective that Hergé’s used for Captain Haddock. But we must remember that Belhaj Kacem’s philosophy is in fact an avowed antiphilosophy. Perhaps because of its correspondence with his own rhetorico-emotional register, he is further empowered to accuse Badiou’s philosophy, too, of being petty, self-aggrandizing and paranoid. Reading Après Badiou, you begin to believe him.