Abstract
At first glance, the poetic production of Daimaso Alonso appears quite heterogeneous; the neat, formally exact poems of Poemas puros, poemillas de la ciudad, seemingly detached from and rising above the problems of daily existence, do not have an evident relationship to the anguished verse of Oscura noticia and Hijos de la ira. The very fact that 23 years elapse between the publication date of the first book and that of the next two might confirm the suspicion that there is bound to be a great difference between them.'
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