Lola Velasco's poetry offers the critic no immediate “hook,” that is to say, no obvious point of departure for the elaboration of a critical argument. Indeed, critics have been remarkably silent about her work. While Velasco's poetry is not incompatible with the “essentialist” tendency inspired by José Ángel Valente, it is free from obvious stylistic debts to Valente, or to any other contemporary Spanish poet for that matter. It appears to spring, in fact, from a desire to elude classifications, alignments, and ideological alibis of any kind. The epigraph to the 2003 work El movimiento de las flores is from twentieth-century poet and artist Henri Michaux, best known perhaps for his experiments with mescaline: