It could be said that on 11 September 1973 it functions as the backbone of Raúl Zurita’s work. From his speeches at the Collective of Art Actions (CADA) or the panteons and niche making up the Canto to his disappeared love (1985), to inri (2003) or In memoriam (2007) to the monumental Zurita (2011), which runs between a ‘afternoon break’ (that of 10 September 1973) and a ‘sunset’ (on 11 September 1973), his entire work seems to be built on the need to speak for the dead mouth of the missing persons. the proposal is to analyse how Raúl Zurita is building a work of dislocated syntaxes and missing voices, which are contaminated by references extrapolated to popular culture in order to filter through a silence that is gradually becoming more powerful in your complaint. Thus, the remains of a dialogue of death and the repetition, as a mantra, of certain trusts which expose the atrocities of the Chilean dictatorship with other older scars, which in turn gain new meanings from their reintegration into Zurita. The multiplication of languages and media — including the inscription of their greens on the frontis of the Missing Detention Memorial and of the political executor found in the Central Cementery in Barcelona — but also the various readings, formations, public interventions and artistic facilities, with which Zurita itself is intensifying its work, ultimately incites to reflect on the memorial value of writing in such a complex and bottled work as Zurita’s, which seems to vary between the need to reupdate a memory of voices that we want to keep alive and the memorial construction of a large poem where they rest.