This paper analizes the representations of sexuality, love, couple, women and family in Urondo’s literary works. According to our hypothesis, they arise from the complex “praxis� of his time, where new concepts intertwine with old ones. Yet, we do not agree with the widespread idea that sees two opposite moments in the author’s lifetime: the young bohemian who would have broken the conservative social customs, and the more “ascetic� adult engaged as a militant member of the leftist guerilla. We claim, following Deleuze and Guatarri’s Antiedipo, that desire and erotism are closely linked to his revolutionary option, because desire is infrastructure and not lack and thus, it is essentially productive and creates reality. Urondo, as Julio Cortázar, valued playing, leisure, life pleasures, gayness and love in the making of the New Man. In this way, he takes distance from orthodox revolutionary movements and connects with the emergent ideas from the students and workers riot of may 68 in France .