Aldo Pellegrini (Rosario 1903–Buenos Aires 1973) was a distinguished poet, playwright, essayist, and art critic within Argentinean cultural circles. From the beginning, he was linked to the development of Surrealism, and he also directed various publishing projects. Pelligrini also supported and publicized various aspects of Abstract art, promoting some groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and Asociación Arte Nuevo [New Art Association]. The book includes the following chapters: “My Personal Vision of Olivierio Girondo”; “A Brief Biography”; “Girondo’s Poetry”; and an anthology of texts by Oliverio Girondo that covers various books by him from the 1920s through the 1950s: Veinte poemas para ser leídos en un tranvía [Twenty Poems to be Read on a Street-car]; Calcomanías [Decals]; Espantapájaros [Scarecrow]; Persuasión de los días [Persuasion of Days]; Campo nuestro [Our Field]; En la masmédula [In the Very Gist]; and some unpublished works. Oliverio Girondo(1890–1967) was an Argentinean poet who was married to the poet Norah Lange. He was linked to the writers of Martín Fierro magazine, such asJorge Luis Borges (1899–1986), Raúl González Tuñón (1905–74), Macedonio Fernández (1874–1952), Ricardo Güiraldes (1886–1926), and Leopoldo Marechal (1900–70), among others. He was intensely active in public the 1930s literary circles. Later, given the experimental nature of the poems he published in the book En la masmédula (1956), Girondo wielded significant influence over the generation of poets associated with Pellegrini and the magazine Letra y Línea [Letter and Line]. Enrique Molina (1910–97), Carlos Latorre (1916–80), Juan Antonio Vasco (1924–84), Francisco Madariaga (1927–2000), Julio Llinás (1929), and Pellegrini himself were members of the surrealist group. Edgar Bayley (1919–90), Juan Jacobo Bajarlía (1914–2005), Mario Trejo (1926), Raúl Gustavo Aguirre (1927–83), Rodolfo Alonso (1934), and Alberto Vanasco (1925–93), among others, collaborated on the magazine Poesía Buenos Aires [Buenos Aires Poetry], which published thirty issues between 1950 and 1960. This text was selected not only because it documents how close Girondo was to this group of poets—among whom Pellegrini himself was to be found—but also because it allows one to comprehend the admiration that these young men felt for the experimental character of Girondo’s poetry.