Because unable to symbolize, to assume the representation of the external thing, the world, this seems to present itself as element that replaces it to create a verbal body that folds itself: the poem. It is in the poetry of Vallejo writing embodies what exists to be erected in intimate homeland, the place of the non-waivable. And from the rispidez who opposed the language, the author, that demiurge, built despite the word, because his writing is not flowing or unfolds as a harmonic corpus, but from a deliberate resistance filming forms, beyond the mechanism of language, it subverts it, in what could be interpreted as a necessary, uncontainable rupture, no longer with the formal scaffolding, but with what exists. Then, the word is installed in the text as a corrosive, alien body; Perhaps the same symbolic investment world. This process of substitution and establishment of a new order may not represent but a search which must culminate in the construction of a coherent with its own system structure; We will then try to approach us, touching at least the sense of it, the possible reason that sustain it as a unit that expresses, that communicates. And I think, then, that this true expressive collapse, that is, the inclusion of neologisms, deliberate displacement of syntax, of the regulations, the introduction of colloquial elements, and up to the use of the playful element, among other resources, represent a formal shield pointing to the silence, to a symbolic silencing that, paradoxically, refers to the reality. And is the voice of the world that seems to be replaced to make it explode, then another voice, which is hidden under a veil of pain, of self-absorption: such land will hear in your silence / how we are collecting all / rental of the world where you leave us / and the value of the endless bread. / (1).