The essay aims to show how some theoretical categories in Pierre Klossowski’s texts are useful to investigate his translation practice. Through his reinterpretation of the myth of Diana and Actaeon, it’s possible to see how the attempt by the translator to possess the object to be translated can be achieved only by means of simulacrum, the demonic analog of the incommunicable truth of the original, that exorcises and at the same time communicates imitating the untranslatable obsession of the translator. In its double-cross, the simulacrum assumes the conventional stereotypes of daily language in order to parody them, producing effects of foreignness and break, essentials for the appearance of the ghost. Thus, through the gaze of the translator, the simulacrum of the translation appropriates the body of the original and restores it imaginatively, theatrically, in the reader’s mind.