The Black Heralds (1918), a work by a poet who knew how to use modernist influences to confront the great problems of man, is one of the most representative examples of postmodernism, where the poet's original voice appears here and there through poetry that retains the decorative tone of Darío Santo Chocano, but where entire compositions can already be seen that respond to a truly new sense, in which the lyricism of feeling is manifested in a pure, nascent language with hardly any relation to the current forms of literature. These poems reveal the poet of tenderness, "interior and grand like a great palace of underground stone with a lot of mineral silence" as Neruda once said. Trilce (1922), which he began writing in prison, is a work considered a fundamental moment in the renewal of the Hispanic American poetic language, because in it we see how Vallejo departs from the traditional models that he had followed until then, incorporating some novelties of the avant-garde and making an anguished and disconcerting immersion in the depths of the human condition that had never been explored before. Here, most of the poems are language experiments, often barely intelligible, but which, from time to time, serve as a vehicle to take us to a memory of childhood or to a feeling of love, the achievement of some of the highest peaks of this author's poetry.