The work of Ignacio Martínez de Pisón has several singular characteristics within the current Spanish narrative scenario. The first of them is the self-awareness of having a personal style that defines an unashamed narrative. Through the art of narrating, which he dominates like few, he as managed to rescue the aesthetics of Realism from being limited to a conservative or shallow use. This way, being a writer from the Galdosian linage, his work is recognized as very modern by all readers, especially due to the perspective it has. Also, he maintains another trait: he has been able to create a coherent line of work, which nevertheless also shows a very significant interior evolution. His novels began being focused on bourgeois and provincial family environments, with female (who normally have a lot of strength in the narrative) and male characters in the framework of a crisis and transformation, such as it was the case of the Franco period society. Limiting to the last fifteen years only, after Carreteras secundarias (1996) and María bonita (2001), El tiempo de las mujeres (2003) forges the way of combining psicology with the social-historical environment, and from my perspective closes Martínez de Pisón's first period as a novelist. What we could call his second period begins with the narration Enterrar a los muertos (2005), which was born out of the investigations of the Robles case, and which ended up being a passionate painting about the internal contradictions and miseries of certain republicans, especially the communists. Martínez de Pisón also considered the confronted positions of Dos Passos and Hemingway around the assassination of Robles as the key of their enmity. The two novels that followed, Dientes de leche (2008) and El día de mañana (2011), have combined the two creation paths of his previous works: on one side the family atmospheres of El tiempo de las mujeres, and on the other the social-political chronicle of Enterrar a los muertos, because in both novels, set in the times of immediate post-war and the long Franco period until transition, the plot allows for the internal radiography of certain specific figures of the Spanish life along that entire period: from 1940 to 1978. This conference will close with the analysis of his book of tales Aeropuerto de Funchal (2009).