He published the poems in common (1949), the vigil and the journey (1961). Between 1963 and 1964 emerged area of American poetry magazine, that nuclear related poets to his expressive line, between them, Alberto Vanasco, Francisco Urondo, Cesar Fernandez Moreno, Miguel Brasco, Noe Jitrik and Ramiro de Casabellas. Celebrations, a set of texts that would be then incorporated into his poetic work; was released in 1969 in 1981, new poems, and in 1983, someone calls. Rodolfo Alonso has written on him: Edgard Bayley belongs to that lineage of poets who, like Baudelaire and Apollinaire, not only were able to reflect on art and poetry but also discover and announce new values and spearhead new movements., is one of our big, our most limpid poets, but is also one of the most brilliant Essayistsmore transparent of Argentine literature. And about why they chose this not very extensive, but adjusted poem that represented a sort of emblem for an entire generation can say that in my opinion, somehow embodies the synthesis of the poetic talent of Edgard Bayley, because from conciseness and simplicity of the speech, it leaves open the possibility of readings always renovated, open to multiple interpretations, and above all, as in layers that overlap and are empowered,presented us as a verbal body of high expressiveness, bearer of that intimate commotion arising from true poetry. I find in this text not only a masterful command of the instrument, i.e., of the poetic Word, but also a paradoxical game of shapes and contents that go beyond, perhaps, the initial intention of the voice. And is that the poem proper its indispensable universe, already above any intention thus preconceived happens with great poetry stands as an emotional and semantic body that exceeds the possibilities of the discourse because it surpasses the same limit of language which sustains it and embodies. What if We refer to the formal resources, these seem to not only complement but also reinforce the content, because the word is displayed in a set of chained meanings that are juxtaposed, face, stick and amplify each other to open the voice to be unanimous in it: always will be / sometimes you dream believed have said everything / but another dream rises and is not the same / you then return to the hearts of all hands / of anyone /.

And how not to associate this stream of meanings, of existential voice that doubles not to be, however, the same, to the perpetual flow of the river of Heraclitus, because as in a movement of high tide and low tide, the poem is immersed in language to integrate us into a universe of items that are replaced to reappear, already unified, to an area that integrates the perplexed circle of existence: this hand is the hand nor the skin of your joy / to the bottom of the streets always find another sky / heaven after another grass there are always different beaches /. And this is how, I repeat, shapes game adheres to the meaning reaffirming in a masterly way the speech. Because in a domestic epic that does not preclude in any way the future of the world, the recognition of otherness, the commitment to be here, a now specifically that is diluted, the poem provides the reader with a route common, human marks, the existence.