Fact also happened in lands weeds-grossenses in the decade of 70, therefore the conflict for lands was great, as analyses of Magalhes (2005) as we argue in previous lines. In the case of the Toada workmanship of the Forgotten one, the critical one more does not result only on territorial conflicts, but in the distanciamento and stagnation of the state, despite the narrative being chore in century XIX it still sends a delay in relation to the coast, thematic very argued in its romances. If the Latin American writers attacked they criticized the countries of first world, made it to Dicke enters the opposition of the coast and the hinterland, that we can call Brazilian periphery. To affirm that the literature of Ricardo Guillermo Dicke is only mitolgica, labirntica and difficult reading, means to say that it is only a indecifrvel code, that does not happen. Therefore according to Stolen Gilvone Miguel in (Madona Preface of the Deserts 2008, p.7):
To read Dicke, she is necessary to entangle in its creation, not in the direction of being rolled by unknown bows until being immobilized, but in the direction of being involved for the pleasure of the adventure of the text, that in them defies ‘ ‘ to make trilhas’ ‘ breaching headresses of closed ramagens, stepping on barren and pedregosos lands, but searching to satisfy the curiosity instigated in the crossroads of the diverse ways of the man scratched out by the creative language in the geography of the density narrative of its literature-hinterland. Ahead of this and other arguments we can affirm that Ricardo Guillermo Dicke is an author engaged and compromissado with its time and space e, fellow creature to the Latin American writers, makes of its literature one ‘ ‘ high falante’ ‘ for subjects that inquietam the human beings daily, constructing inside of the universe of the book a parallel world to ours, it does not stop presenting answers, but yes reflections.