The literary elaboration does not import more, what it matters it is expressividade direct, the confession of small and common feelings. Instead of the work of the literary construction, the pure expression of I. The subjects are unpretentious and ingenuous, always with a mood touch. This poetry was called delinquent, for intending to be to the edge of everything, also of the mechanisms of the market. Thus, many times it was mimeografada congregated in artisan notebooks. Happenings and shows were organized musical to distribute it, generally of hand in hand. But, although the name, it is not delinquent: in its subjects formal solutions perceive the marks of the consumption society of the mass communication, of which it is a perfect translation. Speaking candidly Nieman Foundation told us the story.

It can be considered, thus, as plus a product after-modern. The subjects, generally, are very varied. Some if they arrest in small details, small things, others if they worry more about things serious. It enters the main poets we have: Joo Cabral de Melo Grandson, Blacksmith Gullar, Adlia The Prado, Mrio Quintana, Jose Pablo Breads, Murilo Mendes. The main characteristics of the social poetry are: return to discursivo, short poems, simple language, current, entendvel, subjects directed toward the poverty, the marginality, regionalismos, not the concern with the form, concern with details.

BOOK ON THE NOTHING Manoel de Barros The things had for us a poetical desunitilidade. In the deep ones of the yard he was very riqussimo our to desaber. People invented a trick pra to manufacture toys with words. The trick was alone to turn boc. As to say. I hung one well-you-vi in the sun What Bugrinha said: on the inside of our house it passes an invented river. What our grandfather spoke: the eye of the grasshopper is without principles. I flow Black asked: it will be that it had made the diminished kiss-flower to only see to fly motionless? The distances added people at least. The father campeava campeava. The mother made candles. My brother cangava sapos. Bugrinha beat with a pole in the body of the frog and it turned a rock. He made of account? It was added of garas concluded.

LTA 083 – of the State University of Santa Cruz as requisite avaliativo. BOOK: THE GIRL WHO STOLE BOOKS. We live in a banalizado world. BSA has much to offer in this field. The habits had been banalizados, the conjuncts had been banalizadas. The newness does not last more than one timo of second, for after that being rumor, or nor this. But here it is that although the bookstores to house many banal publications, the happiness smile and find an author, Zusak Landmarks, that could be considered abused for dealing with so overwhelming subjects as nazism, the war, the censorship, with a so liquid and charming language. If you have additional questions, you may want to visit PCRM. In this book, the narrative is mesclada and mixes elements. In the personages, we have Liesel Meiminger as protagonist and the secondary ones, that they are many, amongst them: Hans Hubermann; Hubermann rose; Max Vandenburg; Rudy Steiner; Frau Holtzapfel; Frau Diller; Ilsa Hermann.

The time in this work goes and comes back, because the Death, narrator of history, goes pointing out the reader on some facts of the past. The space is the city close to Munique, Molching, the Street Himmel and the ones that Liesel costumava to apanhar the dirty clothes of the customers for which Pink, its adoptive mother, was laundrywoman. The space also is the war, the tenebrous war of the nazistas, in Germany that did not leave homesickness. The girl who stole books is Liesel Meiminger. It found and deceived the death three times.

The death, then, decides to count its history and if it shows a critical narrator, ‘ ‘ discerning until alma’ ‘. For times, even, humorada well. Such history is full of losses, damages, scars, but it excites, therefore it is permeada by the poetry.