This article attempts to explain how the creative quest of the Kyrgyz national poet, the classic Omor Sultanov, found its plays in Kyrgyz poetry, especially as a modernist poet. The first two collections of the poet ―Days of the Mountains‖ (1961) and ―Starry Nights‖(1965) played an important role in the growth of creativity, and the collection ―Thirtieth Stop‖ introduced the poet to the Kyrgyz people as a creator, innovative, modernist poet. The poet‘s collection The Hundredth Song of Fatigue, in which the eponymous poetic cycle is a new phenomenon in Kyrgyz national poetry both in content and form, opened with an analysis of poet‘s poems in the formation of a free form of Kyrgyz poetry. From the first to ―the hundredth song of fatigue‖, each of them has a theme, which considers the artistic depiction of real events from the poet‘s life as a feature of the work, emphasizing that such a poetic cycle is a new phenomenon. in Kyrgyz poetry songs such as ―Longing‖, ―Hearing‖, ―Voice‖, ―Refugee‖, ―Gloves‖ were cited as examples