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Salinas' contempt for visual impressions is one aspect of a literary pose already assumed at the beginning of his career and faithfully maintained thereafter: that of the poet who distils and wholly re-fashions his contacts with reality. In one of the early poems in Presagios he catches sight of a fruit hanging from a tree, and immediately blames his eyes for their superficiality in seeing only its exterior; closing them, he transforms his hand into a mano de ciego, aspiring to bypass that exterior in quest of the invisible, untouchable essence of the fruit.