Cent mille milliards de poèmes was signed by Raymond Queneau in 1961. This device particuarly requires the reader's involvment in the conception of the text, since it is “combinatorial poetry”. Nonetheless, a constant sense of humour seems to pervade the text. How can we detect this permanent feature in a text where the boundaries between the author and the reader are disrupted ? In this dissertation, that problematic is an opening to question both the very act of reading (of conceiving texts from the reader's perspective) and the modalities for humour to exist and spread. Fundamental and structural constraints apply to this specific poetric device (textual, semantic, esthetical). Studying the way this game's dynamic articulates these structures of constraints make us consider the reception as an esthetical concern. We focused on the characterisation of humour in the device, which takes its origin in the way the reader is invited to approach the text. Elements of textual fixity, combined with potential knowledge about the OuLiPo, create a “humoristic atmosphere”. By enhancing the reading process in his device, Raymond Queneau invites us to see the very act of reading as a “game”. Cent mille milliards de poèmes, as a prototypical “hypertext”, invites us to a synthetic way of reading (“hyper-reading”). The reader elaborates a relation with the text opening to an infinity of possibilities. He sees his creativity stimulated through a sharing dimension and finally can become aware of the way he reads. Potentiality meets humour since this way of reading is a way of organising reality. It is therefore based on one simple mecanism: the conciling of different perspectives. Queneau is never concluding, always operating through humour's constructive prism.