Salvà also began writing in prose – notably a diary about her trip to the Holy Land in 1907 with Costa i Llobera – and translating.

[5] In 1918, she received tribute in Palma from other Mallorcan writers and, presided over by Joan Alcover, joined with poets from other Catalan-speaking countries.

Overcoming Franco's Catalan censorship, the Editorial Moll [ca] publishing house began to print her complete works in 1948.

At the time, in addition to Josep Carner, who considered her an extraordinary poet and fought to share her work, her most intimate personal and literary interlocutor was Miquel Ferrà [ca] "in whom she had full, unlimited confidence".

Josep Maria Llompart [ca] said that "it has been said that it cannot be by chance that the highest figure of the Mallorcan school [of language] is a woman.

The taste for the reasons, for the tidy address, for the minor and delicate tone, united to the longing and inconcrete sensibility, is usually considered as a feminine quality.

And this quality, typical of the school, substantially defines the poetry of Na Maria Antonia"; Carner said that her writing has "angelic tidiness, intimate complacency of everything in its place, with every emotion having a fitting and appropriate music.

her joy and her resentment and gives her voice a kind of caress and makes her spontaneity, nourished by select visions, occur in grace, and her stanzas, as the people would say, seem untouched".

[7] Xesca Ensenyat [es] spoke about Salvà's style in terms of its subject and identity, saying that "it has no aesthetic ideology or intellectual pretensions.

[5] Her work focuses particularly on the landscape, the beauty of nature (see Espigues en flor (1926), for instance), as well as her native island of Mallorca and the Mediterranean; the latter embodied in her seminal translation of Mistral's Mireia (1917) or the memories of her trip to Palestine as stated in Viatge a Orient (1907).