The starting point of this master's thesis is an assertion by Zvonimir Mrkonjić that Anka Žagar's poetry is a result of her consistent work on poetic obscurity. This paper therefore attempts to consider the concept of poetic obscurity as the stylistic stronghold of Žagar's poetry as well as prove that obscurity ensures that Žagar’s texts resist interpretive exhaustion and remain open to new readings and different interpretations. The paper begins with a theoretical elaboration of the concept of poetic obscurity. In this paper, poetic obscurity is defined as a stylistic stronghold of modern and postmodern poets who question the traditional relationship between signifier and signified as well as poetry as a form of communication. The texts they create are semantically ambiguous and demand an active and engaged reading. They are spoken by an illusive poetic voice that fears stable identities and considers language as a substance that resembles energy. The aforementioned features of poetic obscurity are explored through a reading of two volumes of poetry by Anka Žagar, Išla i... sve zaboravila and Zemunice u snu. This paper contains interpretations of the poems Šuma, Pohod, Učila govoriti and Između. Interpretations of poems Šuma and Pohod attempt to prove the author's preference for metapoetic themes and describe the complex character of Žagar’s poetic voice and her poem’s language. The analysis of poem Učila govoriti, which features many of Žagar’s favourite motifs, attempts to demonstrate the montage creation of the motif’s obscure meaning. The interpretation of the poem Između attempts to describe the metaphysical impulse evident in Žagar's wordplay.