Spanish fascist literature has been a neglected reality during the last forty years of academic research, with only a handful of scholars making timid approaches to the topic. However, if we scratch the surface, and setting ideological implications apart, we discover that a plethora of relevant authors can be included under this vast label. The Spanish artistic panorama during the first four decades of the twentieth century constituted a slow and traumatic transition between different avant-garde movements and the totalitarian-like regime that rose up at the conclusion of the Civil War, and literature was not alien to this process. Many authors, whose career (or formative years) had begun imitating the European models of the Surrealists, Dadaists, and others, started to move toward a fascist aesthetic as the century advanced (as happened in other European countries, such as Italy), “giving birth” to an intellectual basis for the Spanish fascist movement (represented by, among others, the political party Falange). On the other hand, the presence of Edgar Allan Poe among Spanish artistic circles had been a constant reality since the mid-nineteenth century, as proved by recent studies authored by, among others, Margarita Rigal Aragón and José Antonio Gurpegui Palacios. When the twentieth century arrived, via Latin America on many occasions, Poe and Poesque literature was adopted as a source of inspiration by the different avant-garde groups that appeared on both sides of the Atlantic. His nightmarish atmospheres, his sense of tragedy (e.g., the death of a young woman), and his representation of the grotesque were some of the key aspects praised by these authors. This chapter analyzes how (and when) the aforementioned groups and writers collided. Spanish fascist authors first approached Poe through these avant-garde groups and continued using him and his production as a source of inspiration when Spanish fascism consolidated. References to his life, works, and letters are ubiquitous, alongside literary creations in which Poe appears as a motif. Somehow, many of these authors felt a fascination with Poe and his texts, and they visited and revisited them when creating the intellectual corpus of Spanish fascism.