Juan Gil-Albert’s (Alcoy, Spain, 1906) second book of poems Misteriosa Presencia: Sonetos was printed in Madrid in 1936, but its distribution was aborted by the beginning of the Spanish Civil War. After the war, Gil-Albert was forced to exile himself to France and Mexico, while his poetic voice was silenced in Francoist Spain. His early production would only be reprinted in 1972, within the famous anthology Fuentes de la constancia. Therefore, the influence of his 1936 homosexual sonnets on his contemporaries must have been very marginal; and yet, there is little doubt that other homosexual poets of this generation, including Luis Cernuda, must have been familiar with some version of them. Modern readers of Misteriosa Presencia will discover in the book not only one of the most complete and articulated homoerotic collections of its time, but also a prelude to a panoply of homoerotic themes that would be fully developed in Gil-Albert’s later works. This paper sets out to use Lee Edelman’s concept of homographesis to study the modes of representation of the homosexual voice, its modes of appropriation of the other, and the literary topics associated with this type of love. Some of the sonnets contained in Misteriosa Presencia are analysed in depth.