|Sumario:||In recent decades, the review of the Transition tale has managed to expose the nuances that go through its different versions in terms of disputed sensibilities (Ros Ferrer, 2020). In this sense, the inquiry into the Novísimos’ proposal is installed as the construction of a mythology of an aesthetic nature that continues to this day. Thus, it is possible to recognize a problem of constitutive dyschrony (Dalmaroni, 2005) in which childhood occupies a central place. The hypothesis of this article maintains that childhood works in Agustín Fernández Mallo's Nocilla Project as affiliation to the tradition of a novísima aesthetics in terms of "the liberated child" (Labrador Méndez, 2017; Savater, 1995; Sánchez Mateos-Paniagua, 2015). Finally, it will be possible to recognize in the gestures of rupture, based on the operations of the "infantile position" (Fumis, 2017; 2019), a way in which the Post-poetic proposal works on the niño-novísima fiction as a serious game.