This article draws a parallel between three modern collections which gather some hybrid fragments , genetically as well as aesthetically. André Salmon’s Le Manuscrit trouvé dans un chapeau (1919), Jean Cocteau’s Le Potomak (1919, then 1924) and Henri Michaux’s Qui je fus (1927) - all texts with an autobiographical content - juxtapose former texts according to comparable devices of recomposition and decomposition. These works are then to be intrinsically read as « collections of self », all at odds, which carry out the poet’s metamorphoses.