This article explores the politics of form proposed by the poetry of Martin Gambarotta. It discusses how his poems carry out a mapping of affective forces across language in the context of a pacified society during the neoliberal project of the late 1990s. The work on verbal materiality invites the reader - as Jean-Luc Nancy would say-to put the ear in order to perceive the resonances of the 'unsaid' at the edges of meaning. While his early work, Punctum (1996), exercises an appropriation of the political rhetoric of the 1970s and of the mass media in a fast and distorted montage, Seudo (2000) investigates the dissociation between sense and sound in the context of a dislocated language, where repetition and silence play a pivotal role. Finally, in the extensive section 'Dubitacion (para una reescritura de Seudo)' that appears in the reissue of 2012, loop construction sets the pace of impossibility of the poem-object of naming experience.