The goal of the present study is to analyze how the concepts of limit, death and nature evolve in Horacio Quiroga's literature. There, nature becomes the stage on which the human drama of death is acted out to the limit. In order to understand this more in depth, I examine the relationship between death and nature in Quiroga from the philosophical perspective of limit as proposed by Eugenio Trías. I begin by analyzing Quiroga's first literary production in relation to Modernismo and the latter's existential approach to death and nature. The relationship between these two concepts can also be observed in his short stories, produced from 1912 to 1933: “La miel silvestre” [The Wild Honey] (1911), “A la deriva” [Drifting] (1912), “El hombre muerto” [The Dead Man] (1920) and “Los desterrados” [The Exiles] (1925). In these fictions, the characters become aware of an ungraspable end that happens through the narration of their journey from life to death, perishing in the limits of this world and ignoring what lies in the great beyond. Finally, the latter text “Las moscas” [The Flies] (1933), proposes an alternative that contrasts with the previous texts and culminates the evolution of Quiroga discussed here with the idea that the limit of death can be surpassed.