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This appreciation will be surely barren and inautntica; but it is not possible that the men accept the refutabilidade of certain images. Certain, it is that the advertising and the press control enough and strong these poor times, but is surprising the plasticity of this system; it is admirable the capacity of insult and elogiosa illusion that the people receive and feed in certain advertising campaigns, submitting all to all the luck of offences. It has that to be itself perplexo with these propagandas, ahead of the necessity not to use subterfuges to accumulate of stocks the people-product; therefore the aluso or the hint is not more necessary; it is said directly: – Deodorant x Uses and obtains many women; – New car t Buys, and it does not change of car, changes of life! This in fact is a prodigy, therefore the enganosa spalling of ideas arrived at the way masses that are not more at least disguise. On the other hand, the advertising executives seem to be more sincere, in way that, if for hypothesis, some person it obtains to understand its gift, it could be astonishhed, it can try to discover what it is illusion and what it is reality He seems honest demagogicamente. But, what the Sr.a Claire Demar would say, sainsimoniana feminist, opposite to the apelos of this advertising, incrivelmente carried through in century XXI? , what the Sr.a Claire would say for likeable and beautiful young woman who desires the likeable youngster as its dream of consumption in a propaganda of determined gasoline mark. Certain made, Mrs. Claire arrived to affirm that: ' ' the revolution in the conjugal customs does not become in the esquina of the streets or public square, during three beautiful days of sun, but if it carries through in all the hours, in all the places (&) in the long nights that transcorrem dull and cold, as as much in the conjugal alcove exist.

The logical text it author does not distort no psychological reflection in the previous chapters, only supports some hallucinations which the reader nor if of the account due the game of dramatical situations where he is involved. Everything blows up in an astronomical scale in them buys at auction ends of the drama, is where it succeeds the surreal reality, where the author dives in the fancy where the protagonist is the main one and perhaps the only focus. But what to say of the presence of Anita, what Donato wants to insinuate with presence, independent of psychic philosophical speculation and yes, the incorporeal presence of Anita, as fantasioso specter of the fertile imagination of Eduardo.

The presence considered in the previous chapters denotes a presence of vulgarity and sexual libido in tenra age of the young, that lives in the esplendoroso climate of sexuality and passion. In the esquina, decided Eduardo (resoluto) looks at last time for the window of the attic. In this hour, in hic hour, of the Latin, at the accurate moment, the present instant, the glasses had not confided (to unseal), the face and the face of Anita only appears for Eduardo, after the moved away flowers sees it completely to Eduardo. In the truth it did not have flowers, or any object in the hour where Eduardo sees Anita, already deceased, the author uses these alegorias to give sustenance to the subject, but in the truth Eduardo did not obtain to see nothing in around, for the scare where its mind comes across in relation to the mirage. Anita if presents completely and not only the face and later the body. It goes down until it, fantasiosamente paina it in air, as she is added to the power of the specters to float and its hands were crispadas, is the same that to encrespar or to franzir.

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.