In his book “La poesia paraguaya - Historia de una incognita” the critical and intellectual Brazilian Walter Wey says: “Campos Cervera put the Paraguayan literature in the American rhythm and at the same level of the actual poetry of the continent.
He also showed that in almost 100 years of poetry, the Paraguayan poets despite describing the county they didn’t identify with it and the life style.” He was a collaborator of magazines such as Juventud, Ideal and Alas in the 1920s, his production of the time is similar to the current of the postmodernism.
In 1938, three years after his return to Paraguay, together with Josefina Pla - who was also back from Europe after the death of her husband, Andres Campos Cervera (Julián de la Herrería) he is located in the centre of a movement which has, among others, Augusto Roa Bastos, Oscar Ferreiro, Ezequiel Gonzalez Alsina and Hugo Rodriguez Alcala as members, who were later to be known as “Generacion del 40” in Paraguayan literature.
The meeting place of those young people was the “Vy’a raity” - soon Elvio Romero joined - and his productions are to be read in magazines such as the Ateneo Paraguayo, Noticias and the literary supplement of the newspaper “El Pais“.
A year before, in 1947, one of the worst phases of a bloody civil war was to take place, which among many things deprived the country of the talent and creativity of its best artists and intellectuals.
His poems…show for the first time in this country mastery of surrealist metaphors, the techniques of Neruda, the rhythm of Nicolas Guillen, the nostalgic air of Alberti – to whom he dedicated his work Regresarán un día (English: "They shall return one day").
The journalist Humberto Perez Caceres, workmate of Herib in the newspaper “ Democracia” in Buenos Aires, transmitted his last words to his country: ”The art, the politics, the cultural works, must drink the best of the nationality.