Thirty years after his Veinte poemas de amor y una canción desesperada, Neruda’s three books of “elemental odes” (1954–57) refocused his poetry into the everyday things and the everyday life of the common people. This new type of poetry responded to an invitation by Miguel Otero Silva, the director of the Caracas journal El Nacional, for a weekly collaboration, which the poet envisioned as an opportunity to offer a chronicle of the daily life of his time, his people, and the everyday objects that surrounded them. This anecdote led the way for Neruda’s “impure” poetry to challenge the assumed range of topics for poetic discourse, beyond his reputation as a poet of love and politics, earned from his previous poetry collections. He began to write in a simpler way, as the “invisible man” who walks the streets talking to common people about their daily experience.