It has now, as they show initial verses of ' ' It chose in junho' ' , only memory, and the time if make gift. As an artist, Max does not need saying in them objective this, but it suggests and it creates, with metaphors as ' ' The knife cuts to the bread separating the time in ns' ' (' ' It chose in junho' ' , P. 365), and with its developed poetical universe in the book. Finally, as last point of aesthetic-estilstica similarity the first book of Max Martins enters and the remain of its workmanship, we would like to point a resource that the poet uses with much maestria and that he can be observed in last verses of ' ' Poema' '. He rolls the poem and the world and I move. (' ' Poema' ' , P. 363) In these verses the poet strengthens the polissemia of the word ' ' mudo' ' placing it in a syntactic context that disables the reader to choose one of the possible meanings, therefore all seem coherent.
With this, it obtains to load the word with some directions different, however indissociveis. This resource, still used of form ' here; ' tmida' ' , it will be developed by the poet, who will arrive to isolate a polissmica word of the remain of the text in order to take it a maximum degree of polyvalence semantics, of conscientious and creative form in all the posterior books to the Stranger. 3. Anti-Picture Eight years separate the Stranger of Anti-Picture, according to book of Max Martins, launched in 1960. This chronological separation can seem great very to the first sight, however, we notice that eight years little if data for the poetry of this author are compared with the estilstico jump. It is justified: in the Stranger the style of the poet was strong on the second modernista generation, more necessarily to the way to make poetry of the initial phase of Drummond, with Some Poetry and Heath of the Souls, both of the decade of 1930.