This study calls into question how Colombian poetry has addressed the issue of violence. Therefore, “a poetic of violence” is developed from the reading of a corpus of poetry precisely based on the books País secreto, by Juan Manuel Roca and El canto de las moscas, by María Mercedes Carranza. Analysis starts from the “poetic imagination”, which for Gaston Bachelard makes the deformation of images possible. This category shapes a singular poetic place for each one of the abovementioned authors. It is aimed to trace the nature of their imagination as well as the resources which it nourishes itself to configure that house of language and enunciation. It is also explored the possibility that lies in poetry to witness violence through the use of the characteristics of this notion presented by Giorgio Agamben as a supporting conceptual reference. After a hermeneutical exercise that draws attention to the poems, it is identified how the "poetic of violence" offers a discursive particularity in relation to other literary genres and artistic expressions, refreshing the stage of literary criticism. The poem reinvents language from a unique perspective permitting to name the unnamable. Poetry enunciates a critical and aesthetic posture capable of shaking the reader, inviting him to transform hegemonic ideas since hope and memory.