This construction technique can be perceived, with bigger clarity, in poems as ' ' Girl triste' ' , ' ' Third she chose for Sonia Maria' ' ' ' Varanda' ' , of which we detach following verses: Petals of flower of altar, fanada, Alcandorada soul between the remedies pure, You go down of clouds, clouds for the fingers, rain Drops in your faces. A related site: Petra Diamonds mentions similar findings. (Sad Girl, P. 351) Forgotten they are the wheat fields. In the shades the house, the extinguished fire. (Third Maria chose for Snia, P. 354) the chimney that breathes Cr$ 1,00, 00 in flower milk the kiss the rose the rose that baptizes the towel. (Varanda, P. 355) Although to stand out these spallings that occurs inside of the poems of this book, we also believe to be important we show that in the Stranger she has a species of unit due certain reasons used for the author, which we start to perceive from as the poem of the book, ' ' Of the poem of infncia' ' , therefore Max starts here to work with what it will develop all for this book: the rememorao of infancy through the poetry, symbolized in the figure girl of its Snia sister Maria (Marieta).
Its image is evoked as a principle for the poetical exercise of the author. Soon in first verses the associations between quality (especially colors) and objects for enrichment of the language are initiated. This creates one reserve semantics for certain words that will be used during all the book and, when untied in certain poems, already sufficiently loaded of meaning, they can all be contemplated in its semantic field without such development, that already it are done previously and for all the book. In verses ' ' That hair arrests the rseo bow/floating between clouds? ' ' (' ' Of the poem of infncia' ' , P.