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By the end of 1920s, the political situation in northeast China (called Manchuria by the foreigners) had changed. Since 1924, the Chinese Eastern Railway had been operated jointly by the USSR and the Chinese Republic, but their relations steadily worsened. In 1929, a serious conflict led to military action on the west border, easily won by the USSR. In autumn 1931-winter 1932, Japan occupied the three northeast provinces of China and in March 1932 established the puppet state of Manchukuo. Two years later, Manchukuo was transformed into the Great Manchu Empire with the puppet emperor Pu Yi on the throne. The USSR was forced to sell its share of the Chinese Eastern Railway to Japan in 1935 and pull out of the area.

Her second collection of poetry came in 1936. Entitled as simply as the first one, Slikholvoreniia (Poems), but numbered II, it contained 52 poems, all in Russian. Most copies of this collection were allegedly "eaten by rats" during the 1937 Japanese attack on Shanghai, as Mary Vezey was later informed by the publishers V.P. Kamkin and Kh.V. Popov, Like the first collection, it became a bibliographical rarity.

Reviewing the second collection, Harbin poet Natalia Reznikova wrote that in Vezey's poetry "the influences of A. Blok and Anna Akhmatova are organically intertwined. (…) However, Blok's motifs provide relief from the concrete, earthly, sensual "Akhmatova style" and impart transparency, detachment, and a seraphic quality to her current poems. M. Vezey's own independence is felt in precisely this combination of almost incompatible elements. (…) It's true that the metre is not always strictly observed, and some poems are technically weak, but this lack of technique in Vezey's poetry does not irritate. There is something of wildflowers, of unmowed meadows, in these inconsistent lines, broken like intakes of breath." An anonymous reviewer admired "the purest lyricism" and "the melancholic mood of the author," while in another unsigned review it was pointed out that "her main inspiration is Blok and Gumilev" and she was praised for her "poetic competence," "lines impeccable in their rhythm and metre" and "noble simplicity."

The collection was noticed in Europe. In 1937, the Shanghai-Paris journal Russkie zapiski (Russian Notes) reviewed several books published in Shanghai. The reviewer, concealed under the initials I.F., commented on Mary Vezey's poetry: "in the first collection, the Russian poems seemed like a translation from English, and the English poems a translation from Russian." This second collection, he continued, shows hard work, but new poems "lack independence. One feels the influence of Blok, of the lyrical poetry of Gumilev, and most of all of Akhmatova. These are real 'women’s' poems. Most of them are sad love lyrics."