This study seeks to understand posmodernista literary production in Latin America by analyzing the work of four poets who have been identified by the critics as worthy of investigation: Rosa Umaña Espinosa (Nicaragua), María Luisa Milanés (Cuba), María Olimpia de Obaldía (Panamá) and Enriqueta Arvelo Larriva (Venezuela). In Salomé decapitada (2001), Tina Escaja underscores the lack of attention to female writers in Latin American literature. The little work done on posmodernismo mostly focuses on the production of male poets, yet, according to Federico de Onís (1934), the women are the ones who stand out in this period. Moreover, those researchers who mention women's writing rely on the production of a very few, including Gabriela Mistral, Juana de Ibarbourou and Alfonsina Storni. This study seeks to remedy the lack of research on female posmodernista poetry, centering on the work of forgotten female poets from the beginning of the 20th century. My study argues that posmodernismo is a literary current and therefore does not present the coherence found in a full scale literary movement. However, writers from the period do exhibit common characteristics in their poetry, including prioritizing sentiment over poetic form. Primary research was conducted in Cuba and Panama from original sources, such as manuscripts and testimonies.