Even to this day, many women remain almost marginalized in literature. The authors referred to in this research (Las Sinsombrero) lived, wrote and published in the first decades of the 20th century in Spain. They were poets, novelists, essayists and translators. Some even published their works in the same printing presses and almost at the same time as the poets of the so-called Generation of '27. Marginalized from literary historiography, their artistic and intellectual work was dismissed until recently. In most anthologies of the time, only a few names appear, and the same names are repeated, from one anthology to another with few exceptions. What is the contribution of this group of Spanish poets born between 1895 and 1916, and what happened so that their published work at the time was blurred for literary historiography? The purpose of this study enriches the Spanish literary historiography of the first half of the 20th century. It is an exploration of women's literature in pre-war Spain and seeks to make it visible. It first presents a general panorama of the creators within the framework of their historical context and places their life and work against the backdrop of the society in which they were embedded. It embarks upon a literary journey on an environment relatively little explored by the academic community of Colombia: the lyrical production of a trilogy of women poets, contemporary to the poets of the Generation of '27, Cristina de Arteaga, Elizabeth Mulder and Lucia Sanchez. In order to tackle the corpus of poems, the paths of the Reading and Criticism proposed by Raymond Williams are closely followed, which focuses on the semantic fabric of the poems, their syntactic disposition, rhetorical resources, articulation of images, parallelisms and rhythmic matters; in a sort of recreational reading that is not exempt from contextualization. The monitoring of the poems is complemented and strengthened by the notion of (agencement) postulated by Deleuze and Guattari and conceived as a conceptual and methodological tool that when confronted with a lyrical cartography, as proposed in this research, allows us to visualize the mobility of the social spaces in which this cartography is poured and reverted into movements of territorialisation and deterritorialisation with a special emphasis on what Deleuze calls hard lines, flexible lines and fugue lines, by means of which, in this case, the poets remain, move to the peripheries of a territory or leave it at different levels of participation in the social and intellectual life of certain moments. Articulating or disarticulating statements, maintaining positions or celebrating what has been established; inverting perspectives or intervening motives without abandoning territoriality, or otherwise breaking patterns that generate ruptures, they decentralize uses and customs in frank dynamics of deterritorialization. The characterization and valuation of the three poets follows the scheme described to explain the attitude of Cristina de Arteaga who, attached to tradition both formally and conceptually, embodies the hard line by remaining in the established order; It also explains the attitude of Elizabeth Mulder, who, detached from ties, seeks existential and social changes without leaving her territoriality, embodies the flexible line, and explains the attitude of Lucia Sanchez, who breaks the modernist affiliation of her poetry in an avant-garde leap, becomes deterritorialized and then embodies the fugue line. This nucleus of characterization of poetic processes dimensioned by the three female poets, allows us to speak of poetry silenced or invisibilized in the trajectories of the Generation of '27, ruled more by distinguished male poets and point out different facets and talents in a moment of social fracture with all the hesitations and confusions that the displacement towards new feminine identity models entailed. Works such as those of the three studied poets, as well as the other still invisible voices, laid the foundations for the profile of the authors who write in Spanish today and their heritage subsists in all social fields, directly affecting themes that are currently being worked on. These writers were becoming aware of their place in the world taking a political stance and some even demanding vindications and that also has great historical value. The exercise of analysis carried out points out new directions to the critical work pending to be done because in general there is a lack of analysis and evaluation criteria of the works of these authors; as well as disparity of guidelines in the selection for the anthologies. The elaborate lyrical cartography opens a great field to inquire on female writers and to make critical evaluations and studies on their work. Future researchers will be able to delve deeper into their work by reinterpreting it from today's point of view. The assemblage (agencement) as an applicable tool to the study of poetic productions in social and cultural spaces is a new path to explore in literary study, which bets on a new paradigm in literary historiography. It is hoped that this exercise will give rise to questions whose answers can be dealt with by those who are moved or restless by this issue.