This article seeks to undertake a brief politics & aesthetics-based reading of two works of Walter Benjamin and César Vallejo, relying on significant encounters with Soviet culture through visits to Moscow in the late twenties of the past century. Ideological and aesthetic affinities between the two authors are explored, focusing on the way in which they assimilated and artistically expressed a vision of the city during the first stages of the proletarian revolution. The individual expectations each one harbored relative to the forthcoming change in lifestyle are also outlined.
