Poetically, his discourse is much closer related to the heritage of the European literary (artistic) tendencies (especially the European avant-garde, whose experiences undoubtedly correspond to Urošević’s sensibility) than with the current national developments. Placed in Macedonian context, his poetry, at the moment of its appearance, is a reaction to both intimism in poetry and to the revolutionary pragmatism and realism in the Macedonian poetry after World War II. “This is poetry that has set off on a long counter-current adventure” 2 , which has provoked the earliest labels attached to this poet by some critics, such as: “enfant terrible” of modernism, “Dadaist” and “aesthete”, of course, in negative connotation. Later, the “European” or, rather, the cosmopolitan orientation of Urošević will be adequately valued, and will become advantage and recognizable trait not only of his creative profile, but also a general place for the third generation of contemporary Macedonian poets to whom he belongs, the generation that played decisive role in the aesthetic emancipation, universalization and affirmation of the Macedonian poetry as complementary to the modern world poetic experiences. Today, Vlada Urošević has his prominent place in the Macedonian poetic Pantheon. He is, above all, an urban poet, but at times, is a careful listener to the secret speech of nature. He is considered to be a poet who, from one collection of poetry to another, traces new excitements and broadens the borders/horizons of the poetic. This text is only one possible interpretative aspect of the abundant map of persistent, extraordinary curiosities and challenges of the poet Vlada Urošević.