The onset of the totalitarian regime in Spain, which erased a large part of the literary past, had two important repercussions on the writing work of a whole generation of creators: on the one hand, there was a group of exiled writers, on the other side of the sea, who had the possibility of recovering their memories, continuing to write and publishing their works with the support of the countries where they took refuge; on the other hand, there were the writers who remained in Spain and who felt the continuous pressure of censorship on their shoulders. Despite isolation and suffering, these writers attempted to restart a “new” history within this newly established cultural field. Max Aub, poet, playwright, novelist, essayist and film scriptwriter, was part of this group that tried to survive in exile and represents two sides of literary Spain: on the one hand, he cultivated a dehumanized and experimental literature; on the other, he created a literature committed to the problems of the times in which he lived. Aub spent thirty years in exile after a period during which he spent time in prisons and concentration camps in France and Spain before arriving in Veracruz in 1942 and settling permanently in Mexico City, where he died in 1972. As a result, Aub’s writing reflects a broad vision of the period: from the dictatorship of Primo de Rivera, the Second Republic, the Civil War, years of the Cold War, and post-revolutionary Mexico to the transformation of the lives of the exiles. During thirty years of exile, he never stopped being active against the Spanish dictatorship, which had wiped the exiles off the map, and through writing he tried to remember, bear witness to and confront oblivion, which meant “fighting against death” for Aub. The desire to return became an obsession and a stimulus for many exiles as well as for Aub, but the realization of this longing was disappointing and frustrating. For Aub, being exiled was not only a transitory situation but a continuous condition in which the exile is not able to feel part of what was his country, nor is he able to integrate fully into the territory of the host country. The frustration, the trauma suffered by these exiled writers became stronger with the passing of the years as Spain found itself in the midst of building a new, long-desired democracy of which they were not a part. The writers who suffered exile were deprived of context, which is to say, they became a ghostly image that oscillated between “myth and ignorance.” Aub, like many exiles, lived anchored in the past and did not live in the existing reality. This non-existence of reality was the cause of his obsession with Spain - despite the fact that he lived in Mexico - and the fact that he was unable to leave his mark on literary history, in which he could not take part. Aub’s works offer the possibility of speaking about a testimonial and/or autobiographical literature in which the author’s voice becomes a collective voice - that of the exiles - which transmits, through dialogue, plural discourse or the multiplicity of voices, the events and sufferings experienced by a group. All the sensitivity that his works provoke springs from fictitious, but at the same time real stories that show the truth that failed and caused the exile. The characters in his works are the speakers of their own painful experiences that convey this sense of exile through fiction. This paper focuses on two of his plays, titled Tránsito (1947) and La vuelta:1964 (1965). Through these plays, we will try to reveal Aub’s intimate thoughts about his position as an exiled writer in the face of the oblivion caused by the time that had thpassed, as well as the agony, frustration and indignation that he had to live and feel during thirty years of exile.