Abstract
This contribution inspired by the pages of the Dietari, the Diary, which Gimferrer dedicates to Quevedo aims to define how and how much the word in the ‘participating’ modernity and in the cynical postmodernity, has the power to define the whole matter both when the word, the Logos, transfigures the subject and when it disguises him/her as obscene eroticism. Artistic genius and body meet in the lowest materiality, in the mocking Scatology that is the sign and sense of the man who lives the time of the great crises.