loose poems published from 1923 in various magazines of the time, such as Manantial, Cartagena Ilustrada o La Libertad. In 1926, Maria de Maeztu and Concha Méndez founded the Lyceum Club Femenino, with a view to bringing women together and encouraging unity, so that they could help each other in the struggle to find a role in the cultural and social affairs of their time. This project interested Ernestina, who became involved in it, taking care of everything related to literature. In the same year, Champourcín published her work En silencio in Madrid and sent a copy to Juan Ramón, awaiting the poet's judgment and critique of her first work. Even though she did not receive an answer, she came across Jiménez and his wife – Zenobia Camprubí – in the Farm of San Ildefonso. From this chance encounter a friendship arose between the two that led her to consider him her mentor, just as was the case, a little later on, with their other peers. Through her acquaintance with him she also got in touch with some of the members of the Generation of '27: Rafael Alberti , Federico García Lorca, Luis Cernuda, Jorge Guillén, Pedro Salinas and Vicente Aleixandre. In addition, thanks to her mentor, she came into contact with classical and modern English poetry (Keats, Shelley, Blake, Yeats). In 1927, Champourcín began a stage in which she published literary criticism works in newspapers (especially in the Heraldo de Madrid and La Época (Madrid) . In these articles published before the Spanish Civil War she deals with issues such as the nature of pure poetry and the aesthetics of the "new poetry" that the young people of the generation of '27 were working on. She herself felt integrated into this group, as she shared the same conception of poetry. She published her first books in Madrid – En silencio (1926), Ahora (1928), La voz en el viento (1931), Cántico inútil (1936) -, which made her well known in the literary world of the capital. An evolution in her work can be discovered from an initial modernism in the shadow of Juan Ramón Jiménez to a more personal poetry marked by the theme of love wrapped in a rich passion. Perhaps that is why Gerardo Diego selected her for his Anthology of Contemporary Spanish Poetry, from 1934. In 1930, while doing activities at the Lyceum Club Femenino, alongside other