the first Municipal Poetry Prize and the second National Literature Prize, which added to her prestige and reputation as a talented writer. she also published many articles in prominent newspapers and journals of the time. Later, she continued her experimentation with form in 1925's Ocre, a volume composed almost entirely of sonnets that are among her most traditional in structure. These verses were written around the same time as the more loosely structured prose poems of her lesser-known volume, Poemas de Amor, from 1926. The magazine Nosotros was influential in spearheading the rise of new argentine literature by helping to form the opinions of the readers. In 1923, Nosotros published a survey aimed at members of the “new literary generation.” The question was simple: Which three or four poets under the age of thirty do you admire the most? At that time, Storni had just turned thirty-one, and was too old to be considered a “Master of the new generation.” Theater After the critical success of Ocre, Storni decided to focus on writing drama. Her first public work, the autobiographical play El amo del mundo was performed in the Cervantes theater on March 10, 1927, but was not well received by the public. However, this was not a conclusive indication of the quality of the work; many critics have observed that during those years Argentinian theater as a whole was in a state of decline, so many quality works of drama failed in this atmosphere. After the play's short run, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres. Her Dos farsas pirotécnicas were published in 1931. She wrote the following works intended for children: Blanco...Negro...Blanco, Pedro y Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores de estatuas and El Dios de los pájaros. They were brief theatre pieces with songs and dances. They were meant for her students at Teatro Labardén theatre. For Pedrito y Pedro and Blanco...Negro...Blanco, Alfonsina wrote the music for the plays. These were performed in 1948 at Teatro Colón theatre in Buenos Aires. On these, Julieta Gómez Paz says: "These present, ironically, adult situations transferred to the children's world to outline errors, prejudice and damaging customs by adults, but corrected by the poetic fantasy with happy endings." Later work After a nearly 8-year hiatus from publishing volumes of poetry, Storni published El mundo