His first novel with the Revolution theme is Andrés Pérez, maderista in 1911, followed by Sin Amor (Without Love) in 1912, and his most popular, Los de abajo (The Underdogs) in 1915.

[1] These works mainly depicts the satirical picture of life in post revolutionary Mexico sharply and angrily stigmatizing demagoguery and political intrigue.

He traveled with the military forces of Julián Medina, a follower of Pancho Villa, where he served as a field doctor.

It was there that he wrote Los de abajo, which was his first-hand description of combat during the Mexican revolution, based on his experiences in the field.

Los de abajo (The Underdogs) depicts the futility of the Revolution, the opportunists in power, and the underprivileged majority of his country.

Kanellos then describes the reason as to why Azuela's literary works are deeply infused with Mexican politics and history stating, “Azuela’s early career as a writer, in fact, was developed while participating in the Revolution first-hand as a physician in the army of Francisco ‘Pancho’ Villa” (Kanellos, 105).

Kanellos’ use of the word “developed” then underscores the manner in which Azuela's physical involvement paved the way for his writing to grow and mature as a result of his experiences participating in the Mexican Revolution.

She argues he gains authority over the land, and constructs a cultural identity where he and Mexican peasants must establish in order to resist the Spanish conquerors.

Furthermore, the sense of freedom that Demetrio and the Mexican men feel on the land serves to “distance them from their oppressed identities as colonized beings” because they immediately forget their bleak lives as conquered peasants (36).

As a result, Azuela emphasizes the consequences of colonization because Demetrio is “so far separated from his own heritage and identity that he does not even recognize it consciously” (39).

On April 8, 1943 he became a founding member of Mexico's National College, where he gave lectures on Mexican, French, and Spanish novelists, and on his own literary experiences.

He died in Mexico City March 1, 1952 and was placed in a sepulchre of the Panteón Civil in the Rotonda de los Hombres Ilustres.