Starting around 1924, two literary groups began to be identified with different neighborhoods or districts in the city of Buenos Aires. On the one hand, the workers’ neighborhood, the Boedo, served to identify leftist writers, the majority of whom worked with Editorial Claridad [Claridad Publications]. This publishing house sought to disseminate the works of writers with both social and political commitments. On the other hand, the calle Florida was considered the most elegant street in the city, with art galleries, photography studios, luxury stores, and tearooms and was linked with writers involved in radical aesthetic changes, with ties to avant-garde initiatives as well as the related revitalization of arts and letters. For many years, the division and opposition between Florida and Boedo served to define opposing positions at the ideological and aesthetic level.Among the important writers associated with the Boedo group—in addition to Álvaro Yunque (1889–1982), who was born in La Plata—were Elías Castelnuovo, Roberto Mariani, and César Tiempo. The opposition, represented by the Florida group, included Ricardo Güiraldes (1886–1927), Oliverio Girondo (1891–1967), Jorge Luis Borges (1899–1986), and Leopoldo Marechal (1900–70). Given its anarchic roots, La Campana de Palo declined to identify with either group.La Campana de Palo published its first six issues between June and December 1925, and after a dormant period, it reappeared in September 1926. The revived publication was numbered in the same sequence but presented in a different format, with the subtitle Periódico Mensual. Bellas Artes y Polémica [Monthly Newspaper. Fine Arts and Debate]. There were eleven issues published in its second period, which continued until September/October 1927. La Campana de Palo was one of the organs used to disseminate the ideas of the anarchist group led by Alfredo Chiabra Acosta, who wrote under the pseudonym Atalaya or At.Gustavo Riccio (1900–1927) was a young writer born in Buenos Aires. His book, Un poeta en la ciudad [A Poet in the City]—along with Álvaro Yunque’s Zancadillas—launched the Biblioteca de La Editorial La Campana de Palo [Campana de Palo Publications Library]. This project was undertaken in 1926 and announced in issue No. 10 of the magazine (December 1926) in an article entitled, “Una aventura editorial” [A Publishing Adventure]. In itself, the project was called “una obra de combate y de negación inteligente, como reactivo contra la placidez ñoña de mutua aquiescencia del ambiente literario y artístico” [a work of intelligent combat, reacting to the insipid placidity of mutual acquiescence in literary and artistic milieus]. In the same article, the publishing house announced the following partial list of authors and titles it would be publishing: Zogoibi. Novela humorística [A Humorous Novel] by Luis Emilio Soto; Recuerdos y apuntes sobre Tolstoy [Memories of/Notes on Tolstoy] by Maxim Gorki; and La búsqueda del equilibrio plástico mediante la técnica [The Search for Artistic Balance through Technique] by Maurice Désevre.The illustrator of Zancadillas was Juan Antonio Ballester Peña, under the pseudonym Ret Sellawaj; he also created most of the prints that illustrated the print runs of La Campana de Palo.This document gives us a general idea of the physical characteristics of the publications included in the Biblioteca de La Editorial La Campana de Palo.