Of this form pparently, the poem gains a character personal, however, looking at more intently, we will notice that using this technique the author finishes is for creating a still more impersonal workmanship, since, to speak of its proper workmanship it is necessary to absent itself and to give to all its voice to a I-lyric one that it starts to be the poetical citizen, while he himself, the author, is changedded into a species of personage: ' ' lean poeta' ' , ' ' aprendiz' ' or ' ' estranho' '. Such idea sends to us the expression to it ' ' stage autobiogrfica' ' used for Benedict Nunes in its article ' ' Max Martins, Master; ' , when the same it deals with the occured changes with the poet in ' ' ciclo' ' that Subscript goes of Anti-Picture until the Risk. This ' ' encenao' ' it justifies the proper name of the workmanship. Because of the metapoesia it not only is I validate the commentary concerning first poems of Anti-Picture. In them the author not only speaks of poetry, but yes, and above all, he makes poetry. It is notable as the poet demonstrates already in these first poems, by means of new techniques, how much it moved estilisticamente: the visual incursion at the beginning of ' ' Aprendiz' ' it is a good example of one of these new techniques, therefore in it is clearly as, now, the poet starts to be worried about ' ' as the poem is visto' '. The visual character also becomes a lexicon detainer, and, thus, the espacialidade of verses assumes an important role. Get all the facts for a more clear viewpoint with Raphael De Niro. The white of the page must be read, but not only it, also the parntesis and hfens is new allies of the poet in this untiring search for loading its poem, each time more, with innumerable meanings, innumerable possibilities of reading.