[1] His first poems, full of color and irony, surpass the simple admiration of beauty in nature which was then a common theme, opting instead for a fuller and more interesting topic: a sort of celebration of living cosmopolitan and urbane, both praising such a lifestyle and criticizing some of the customs of its society.

Girondo was contemporary to Jorge Luis Borges, Raúl González Tuñón and Macedonio Fernández and Norah Lange (whom he married in 1943) whom he met at a lunch banquet in 1926 held in honor of Ricardo Güiraldes.

Girondo was one of the most enthusiastic animators of the ultraist movement, exerting influence over many poets of the next generation, among them Enrique Molina with whom he translated the work of Arthur Rimbaud “Una temporada en el infierno.” Other notable peers include Pablo Neruda and Federico García Lorca with whom he began lasting friendships in 1934, era when both were to be found in Buenos Aires, capital city of Argentina.

To the point that the words themselves begin to lack separation between them, blurring which are individuals, groups, or other units of comprehension more complex still, he presents a specie of superwords with multiple connotations and multitudinous functions which proceed in a manner tailored just as much to their phonetic associations as to their semantic meaning.” Some critics relate this ultimate gesture of vanguardia (avant gardism) to the work of another, equally desperate constructor and destroyer of language and semanticity: “Trilce”, of the Peruvian author of the same era, César Vallejo.

[4] Girondo's works are the backbone of The Dark Side of the Heart, a 1992 independent film directed by Eliseo Subiela, in which a poet strives to find the love of his life, defying Death's constant interventions.