The image he provides of this situation does not differ greatly from those of the rest of the popular Latin American sectors of the time. From the beginning of his action, he denounced the artificiality of the school task in those media, and questioned the education systems that naturalize social reality and present it as unmodifiable. He searched for and produced different strategies based on books, magazines and all the study and reading material he could access. Together with his wife, they elaborated a program to be implemented initially in the third year to which the whole school later adhered. The program articulated the need to respond to the educational and social deficiencies of the rural environment with the importance given to creative expression.
Due to its trial nature, the program did not have a previously developed methodological strategy, but was configured as the work with the students and the community progressed. The only premise that was established from the beginning was the need to allow and develop "the creative expression of the children." To achieve this objective, two activities were implemented to organize the school task: the "centers of interest" and the cultural extension course or "school field trips." While the former were based on the need for students to decide on the topics to be studied and investigated, the cultural extension activities were based on the importance given to the relationship between the school and the community, with proposals designed beyond the classroom, such as field trips and artistic events. These not only explored the natural and social environment, but also turned the school itself into a local cultural center with theatrical performances, festivals, etc. Also noteworthy was a weekly newspaper called El Marrón, a name inspired by the tool used by the quarry workers to break the stone and an emblem present in the school's sports team flag, which consisted of different sections and reported on community events, the activities carried out by the school and, fundamentally, the actions of its students.
From this experience, he published in 1935 his book Vida de un maestro, written in a confidential tone closer to that of an epistolary exchange than that of an academic text, where he narrates the daily life of that school. It is a class diary of a young nonconformist teacher who seeks options to the reality he had to live. Without naming them, the work is reminiscent of De Amicis' Heart: Diary of a Child, Tolstoy, and Anton Makarenko. As a consequence of the strong social and educational criticism that the book presented, he was dismissed from his position and forbidden to continue with his experience. Although censored by the Dictatorship of the time, the book not only quickly sold out its Uruguayan edition but also spread throughout the Spanish-speaking world.
Jesualdo became famous as a result of these events. A higher level of maturity and systematization of his ideas characterized the subsequent period. The Spanish Civil War, and later the Latin American liberation movements such as the university reformist extensionism, the Mexican Cardenismo and the Cuban Revolution, found him definitively enrolled in the progressive leftist currents. In 1973 he withdrew from the Uruguayan public scene as a consequence of the coup d'état, which prohibited him from performing in any way and from selling his books, and he passed away silently in 1982 in Montevideo without seeing the return of democracy in his country.