He was influenced by the poet and Tango lyricist Homero Manzi, whose working-class appeal struck Jauretche, himself of rural origin, as a positive political strategy.
Along with Manzi, Luis Dellepiane, Gabriel del Mazo, Manuel Ortiz Pereyra and others, Jauretche founded FORJA [es] (an acronym for Fuerza de Orientación Radical de la Joven Argentina), which pursued a democratic nationalist ideology equally opposed to conservative nationalism and to the economic liberal policies of Agustín P. Justo.
Although he was skeptical of the motives of the coup that unseated Castillo, his firm neutrality with regard to the war led him to welcome the government of Pedro Pablo Ramírez.
When the Grupo de Oficiales Unidos unseated Ramírez after he severed relations with the Rome-Berlin-Tokyo Axis, Jauretche allied himself with the up-and-coming Colonel Juan Domingo Perón.
There in 1957 he published Los profetas del odio (The prophets of hate), a polemical study of class relations in Argentina since the rise of Peronism.
he presented a devastating critique of Peronism, in which he portrayed Perón as a "snake charmer" whose political movement had instigated the "low passions of the populace", corruption, and "pornocracy".
Jauretche criticized these allusions as the prejudices of a middle class sensibility irritated by the eruption of new participants in a political environment which had been exclusively run by the bourgeoisie since the generación del '80.
Although bourgeois material interests had been advanced by the development of a dense layer of consumers, they nevertheless remained reticent towards the habits of the working classes, a "myopia" which Jauretche would criticize frequently.
Although revisionist authors had been advocating a reinterpretation of Argentine history — in opposition to the canonical vision of Bartolomé Mitre and Sarmiento which had represented the nation's development in terms of a clash between civilization and barbarism — since at least the 1930s, it was not until the Revolución Libertadora that major parallels began to be drawn between Perón and Juan Manuel de Rosas.
The upper classes soon came to adopt a liberal economic and social outlook, and the work of Jauretche and the Forjistas proved pivotal in realigning historical revisionism with populism, taking in the struggle the labor movement and the montonera tradition.
Though he painted a fairly sympathetic portrait of Rosas, described as the only "possible synthesis" of the problems facing his time, Jauretche was fairly critical of the federal caudillos of the interior; in this analysis, Jauretche distinguished himself from the position of Jorge Abelardo Ramos, Rodolfo Puiggrós, and Rodolfo Ortega Peña, who were at the time critical of Rosas's ideology, which they understood as an attenuated version of Porteño centralism, and deeply fearful of the atavistic foundations of traditional nationalism, in which they perceived no small similarities with Fascism.
Meanwhile, in pursuit of whatever means would most quickly bring about the end of the Revolución Libertadora, Jauretche broke with Perón one last time and endorsed the candidacy of Arturo Frondizi, whereas Peronists adopted abstentionism, the technique traditionally used by the Radical Civic Union.