Germaine Tillion’s Le Verfügbar aux Enfers is an astounding work of art, which is due both to the context in which it was written and to its content. Though musical quotations are manifest in this operetta-revue, a rich intertextuality can also be perceived and will be examined. In order to better understand the particular nature of Le Verfügbar aux Enfers, a comparative analysis will be necessary. This article will study the presence of intertextuality in concentration camp texts written during two distinct periods, that of the imprisonment and that of the immediate post-war. This contribution will first explore a fundamental difference between those two periods: the reader’s identity. The article will then consider how this characteristic influences the intertextual process of those texts, which results in important transformations from one writing period to the other.