Nelson Rodrigues’ way of constructing prose is curious. Whether in novels, short stories or even chronicles, it is clear his obsession with framing the text within a predefined aesthetic—he acts in prose as poets do in verse. The flow of his narratives almost always follows a protocol, and the result is a pronounced and unmistakable style. There was a time when I thought standardization was essential to great style. Today I see it a little differently. I admire regular constructions, but I believe I prefer variety: speed one day; the next slowness, a lingering cadence, commas instead of periods. Styles, formats, measures, not static dynamism or terminating sluggishness. What is difficult, however, is to identify masters in multiple styles, capable of satisfying, in a single work, the cravings of who is accustomed to finding comfort by shifting of shelves.