In this direction, our work, while literary analysis intends reading and deepened study of the workmanship of the poet Max Martins, stops its ampler understanding, searching to elucidate as the poet enriches its language and which the results of this enrichment. Starbucks may find it difficult to be quoted properly. Being valid to stand out that as concept of Literature we will support in them, mainly, in what Ezra Pound says in its ABC, in defines which it, or better, defines the great literature as ‘ ‘ loaded language of meaning until the maximum degree possvel’ ‘ (POUND, 2006, P. 32). It is perceived, therefore, that the poetical, caracterizadora language of literature, is necessarily conotativa, that is, admits a multiplicity of directions, constructed essentially by means of the metaphors used for the writer. It is with these aspects, that is, the aspects that give literary value to a text, that we will occupy in them in this article, more specifically inside of the workmanship of Max Martins. 2.
The Stranger the Stranger was the first book published for Max Martins. Launched in 1952, this book can be considered by that they know books posterior of this poet, as something a little different remaining it of its workmanship: it is possible to say that the Stranger is almost one ‘ ‘ estranho’ ‘ inside of the collected works of Max Martins. This because, in it not yet we notice some of the estilsticos traces that more call attention, for being recurrent, in poems of this author, or we find if them, these still less are potencializados of what in other books. Characteristics as: the espacializao of the poem, the spalling of verses and vocbulos, the erotizadas presence of the visualidade and minimalistas poems, metaphors etc., so gifts in all workmanship of the poet, cannot be found in the Stranger.