until a new version was produced, published in 1967. Something similar happened with his first work, Abril, which was corrected and augmented with new poems and published again in 1972 with the title Segundo Abril, almost 40 years after its first edition. La casa encendida is a book-poem –written in free verse without stanzas– where Rosales mixes lyricism and narration, existentialism and imagination, rationality and irrationality, starting a new personal poetics that incorporates resources from César Vallejo and Antonio Machado. Between 1937 and 1951 she worked on the book Rimas (1951), where she explored with the short poem, demonstrating her great versatility and technical mastery. Her essays include Cervantes y la libertad (1960) and Pasión y muerte del Conde de Villamediana (1962). Her latest works, more autobiographical and disillusioned, maintain the union of the lyrical and the narrative, with surrealist findings already present in La casa encendida. In 1966 he published The Feeling of Disappointment in Baroque Poetry, and three years later The Content of the Heart, for which in 1970 he obtained the Critics' Prize. In 1972 he published Theory of Freedom and Spanish Lyric, whose essay Garcilaso, Camoens and the Spanish Lyric of the Golden Age obtained the Miguel de Unamuno Prize.10 In 1973 the Great Illustrated Encyclopedic Dictionary of the Reader's Digest was published in eight volumes, whose group of Spanish collaborators directed and that had a second later edition in twelve volumes. Editorial Trotta has published his Complete Work in six volumes, and Félix Grande, who was a disciple and friend of Rosales, prepared the anthology Because death does not interrupt anything, with his selection and prologue, which appeared in the Biblioteca Sibila in 2010. Grande He also wrote the essay La calumnia. On how Luis Rosales, for defending Federico García Lorca, was persecuted to death (Mondadori, 1987) With the Luis García Montero Edition, the Visor de Poesía Collection publishes El naufrago metódico, Antología, Madrid, 2005. Poetic style The work of Luis Rosales, which covers the entire postwar historical period, evolved from a classicism to a style of its own close to the surrealist avant-garde. Two stages are usually distinguished in his work, one more concerned with aesthetic issues, close to Garcilasista classicism, and a later one of avant-garde experimentation. Both merge in La casa encendida, where aesthetics are no longer a concern, but the exercise of techniques that he already masters. Broadly speaking, Rosales's literary