published (Anniversary of a Vision) (1960), (Immanent Visitor) (1964), and the first volume of his magazine (1965). In 1967 he published (The Cold), and the Arca Gallery exhibited his illustrations of skulls, of which there were various. In 1967 he befriended Carlos Alfredo Rivera, with whom he shared a very close friendship, so much so that it is said Sáenz was the only one who paid attention to Dr. Rivera. And for that same reason, Rivera forbade him to drink. Sáenz began following that order, but died after a few weeks due to two crises of delerium tremens. Sáenz and his professorship In 1970 he earned a professorship in Bolivian Literature with a dissertation on Alcides Arguedas at the Universidad Mayor de San Andrés (UMSA) in La Paz. In 1974, he presented a theatrical play called (Friday Night) and a libretto for his opera (Lost Traveler). With the support of scholars, and invited by some students, Sáenz opened a Poetry Workshop in the Literature Program of the UMSA in 1978. That same year, he published (Images from La Paz). A notable exhibition was of his work (Skulls), in which he presented about twenty pictures, including: (Skull that Resisted Being a Skull), (Skull with Toothache), (Skull in Showcase), (Malnourished Skull), (Skull in Misfortune), (Dead Man's Skull), among other skulls done in indigenous styles. The Krupp Workshops Nighttime reunions with Jaime Sáenz were hosted for years, and until the moment of his death they were a space for the marginalized and the rebellious to have rich intellectual exchange. The famous "Krupp Workshop", the venue where Sáenz received his visitors, was converted into an institution, where the publication of literary magazines, games of dice, music by Anton Bruckner or Simeón Roncal, chats about Milarepa, and lectures on poetry were the permanent foundation. Influence One can say that very few representatives of Bolivian literature, music, or contemporary art have stopped having a connection with or influence from Sáenz. Even the new generation of videographers and filmmakers have felt the importance of his work. Perhaps the most appealing detail about him, especially to young people, was the romantic aspect of his lifestyle, reflected in his work schedule and social life: sleep during the day and live at night. Sáenz, alcohol, and his death Fascination with death was something experiential for Sáenz. Like he himself reports in his most autobiographical book, (The Lodestone) (1989), visiting the