As beginning in middle of years 50, pertaining to the generation of 60 of our literature, the maranhense poet would have found as next poetical horizon, the idealistic esteticismo that starts to be the defining mark of the poets of 45 the spite of its undeniable individual differences. At that moment, however, such esteticismo already starts to be rank in question and other values if it mesclam, in the direction to answer what the poetry of the new times was to demand. Times of conflicts, of construction of the world that the conflict of the two great wars had shaken in its foundations. This moment is characterized inside of the poetry as more important element, the culture of the daily one. Not being able to lack the figure of ' ' grande' ' poet, Carlos Drummond de Andrade (coming of years 30).
One of the presences strongest of the Brazilian poetry became then, raising the daily one to the level of high poetical substance and proving to the society the essential existing interdependence between the lived reality and the language that the express in poetry. Added to the creative force of Drummond, it is imposed, in the years of 40/50, the racionalista effort of another great name of the Brazilian poetry, the poet construction, or same, ' ' engenheiro' ' , that one that works the words, arranging them in a full poetical significance that doma the indizvel, delousing the poetry of any contigentes or fortuitous elements, valuing the language, therefore the poem is not only ideas, is also words, at last, a reader of Valery: Joo Cabral de Melo Grandson. A Cabral that it knew to leave the formal impasse that threatened its poetical creation, confiding for the human being, castrated prisoner to a daily one and dramatical. Thus, Nauro Axe and its friends of generation of North the South of the country, conscientious and unconsciously, meet ahead of multiple creative forces, without none of them if presented they as ideal or definitive.