Already in Anti-Picture the poet comes close itself to the ideas of the concretistas of the decade of 1950 and also suffers direct influence, according to Benedict Nunes, from Mario Faustino, with the book the Man and Its Hour (1955). In its as book, Max Martins starts to launch it the aesthetic universe would emancipate that it of drummonianas roots e, more still would become, it bonanza of the artistic point of view. We would still say, finally, that the style of Max Martins, in the book in question, is leagued, perhaps of unconscious and/or indirect form, to the one of the poet Joo Cabral de Melo Grandson, in special in what it says respect to the language antidiscursiva and to the so characteristic tone of impessoalidade of this author. With this, we can say that, estilisticamente, the difference between the Stranger and Anti-Picture is not of only 8 years, but yes, of 20 or 25 years. Anti-Picture is a book whose thematic essence is intent in poetical making, impossible not to notice the metapotico text of the book as a whole.

What it cannot be confused with what we call thematic unit, present in the previous book. Perhaps if it finds, in its as book, ' ' psychology of composio' ' (making analogy the Cabral Joo) of Max Martins. The three first poems of the book, ' ' The Estranho' ' , ' ' Aprendiz' ' ' ' Max, lean poeta' ' , they are interesting to say itself of this question of the metapoesia, since all invoke the perspiration that exceeds the inspiration way to the crisis it to make poetical or to become it poet. Valley to stand out despite this reflection on the poetry, in three poems, seems to turn itself toward the proper author, that is, I-lyric it speaks on the poetry of the author.