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(Ramon Maia)

Composition for Quadrilíneas: there is, in this new book of Ramon Maia, the word moaning, the word-yolk, in the mineral-visceral sense. The cut is dry... Bending, removing more than putting, it sculpts in the words the value, to the shelter of the corrosion of the time. He speaks substantive, the speech of Amílcar, concrete before the belorizontes. The lines like the poems of João Cabral de Melo Neto. The speech of the ones that eats for the margins. Without arresting to predicate. Therefore, Quadrilíneas has his cliff in the beginning. Every art is a life force. The Minas verbivocovisuais that it digs are not holes shallow nor superficial. After all, they bring things louçãs, fine, and they flow as river waters. In their spaces we picked the lilies of the field (and the one of the contre-plongeé). The Praça Sete (Seven Square, important square in Belo Horizonte) is a rigid name, he doesn't have Septembers. The square just possesses her own line, in the mouth of the almost-streets in ordeal. In these texts, in relation to the two books already published by the author. After the intoxication of the genesis in Pluriverso & of Quiasmin, new colors. And the tones now are sober. Before the first words rose to titles. Now the poems drew his/her north in the leaves. And, as fixative gel of asterisks, it blunts the risk of the final points.
Ramon also have a stimulating work as a publisher and as a academic. As a publisher, he published a review called Arte em Revista (Art Review) a review that is very representative of the literary production in contemporary Minas Gerais and probably will be consulted in the future. As a publisher, Ramon created the Mundo de Cetim (World of Satin).
Does the musicality of the poems stand out? The poet prospects. How to live after the music ends? Ramon continues giving birth to words.

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