It studies physics, mathematics and metallurgy, research until anatomy, it calculates, it draws and finally it decides, Optimum alapo develops. It starts to construct a bird cage to be submerged in the water, develops a system of constraint in the door that, an opened time, is closed in the hour, and later, only with weld. It still studies as to attract the canine tooth its to souvenir. It remembers the innumerable acenos that receive and see. In balancing of the hands its joy. I wave it establishes it of hand as decoy of any one attention. The problem is to carry through one waves submerged with perfection, uses the knowledge of the mechanics as solution, research on the pendulums of the clocks and manufactures the constant movement of oscillation.

Inside of the bird cage it welds a metal body that balances without stopping, a connecting rod, also of metal, a side for the other. The connecting rod tranfers the top of the trap, without finding with the gratings of the bird cage, thus does not confuse balancing ritmado of its metal structure. ion regarding this issue. It lacks the great end now: I wave to materialize it of the false hand, of a natural form. It catches all its economies and order of exterior one prtese of feminine arm, paid expensive in that it finds perfect more divine. Silica and synthetic skin of a frightful realism. In the metal connecting rod, prtese sticks.

It places the pendulum to function and it observes. Its impresses engenhoca it, is felt intelligent and if it satisfies in seeing one to wave so real. It removes the ring of its finger and places in the artificial hand to demonstrate its accomplishment. In a rainy dawn of winter, it wakes up and it drags, alone, the trap for the edge of the Black Lagoon, constructs a banana tree raft and leads engenhoca until the way of the lagoon. It dives the bird cage in the water and establishes its ideal depths, being based on the balanante arm it are of the bird cage. It finds the measure ideal, fixes the bird cage in the deep d? water with steel handles, puts into motion the gear pendular, sets in motion the system of travamento of the door, comes back to the edge of the lagoon and is waving with the hand, in reply waves to it of metal that creates so faithful. It is the only time that its Manoel answers to one waves of hand.

Alain Viala writes down that ‘ ‘ the phenomenon of the clientele is banal in century XVII and in redor of rich and powerful personages, individuals or groups congregate themselves that if place its service in exchange for diverse vantagens’ ‘ (LAJOLO, Marisa? ZILBERMAN? Regina, 2001, p.34). This courageous, roubadora infant of books and charmer of the Death obtained sufficiently. He obtained to learn to read, to write, to produce its proper text (speech), everything this or alone, or with the aid of that they loved really it. Before ‘ ‘ not only the ethnic universe was limited: the booksellers also were penalizados when they divulged sorts proibidos’ ‘ (LAJOLO, Marisa? ZILBERMAN, Regina, 2001, P. 37) had always occurred, however, the ones that write good workmanships and those that do not make it (a good example would be the Mein Kampf). Others write divinais workmanships, that also please the reading Death. In the world, it seems, it always had of these and others.

On the author, what we verify is that in general was in the hand of others, ‘ ‘ the recognition of that the author of the text is the owner of the workmanship and that this property, as any another object of value, can be transmitted it outrem has worthy consequences of nota’ ‘. (LAJOLO, Marisa? ZILBERMAN, Regina, 2001, P. the 59) poets also they had given price to its poetries, ‘ ‘ in the frank and direct exposition of the interest of the poet in gaining money, one of myths of the literary tradition occidental person, responsible rupture for the good mood and originalidade of versos’ breaks itself; ‘ (LAJOLO, Marisa? ZILBERMAN, Regina, 2001, p 79). Of this form, the ideal would be to imitate the small Liesel: to choose our readings, to read, but cautiously, because ‘ ‘ the words weigh muito’ ‘ (ZUSAK, 2007: p.368). a book, you knows, is a workmanship that can be ‘ ‘ so direful and so glorious, and to so have words and histories so cursed and brilhantes’ ‘ (ZUSAK, 2007, P.

382).