in the solitary road. It takes the renaissance allegory of the Machine of the World from Portugal's most esteemed poet, Luís de Camões, more precisely, from a canto at the end of his epic masterpiece Os Lusíadas. One of those said segments have been found only after his death: deliberately erotic poetry. That type of poetry has been published in only one book, "Moça deitada na grama" (woman laid down in the grass) with the authorization and actual intervention by his son-in-law. Drummond is a favorite of American poets, a number of whom, including Mark Strand and Lloyd Schwartz, have translated his work. Later writers and critics have sometimes credited his relationship with Elizabeth Bishop, his first English language translator, as influential for his American reception, but though she admired him, Bishop claimed she barely even knew him. In an interview with George Starbuck in 1977, she said, "I didn't know him at all. He's supposed to be very shy. I'm supposed to be very shy. We've met once — on the sidewalk at night. We had just come out of the same restaurant, and he kissed my hand politely when we were introduced." Style Drummond, as a writer of the modernist style, follows the writing mechanic proposed by Mário de Andrade and Oswald de Andrade; making use of free verse, and not depending on a fixed meter. In modernism, the predominant style which Drummond wrote in, styles were divided into lyrical and subjective or objective and concrete, Drummond would be part of the latter, similar to Oswald de Andrade. Drummond was the first poet to assert himself after the premiere modernist of Brazil and created a unique style dominated by his writing. His work displays linguistic freedom and free verse. But it goes beyond that: "The work of Drummond reaches – as Fernando Pessoa, Jorge de Lima, Murilo Mendes, and Herberto Helder – a coefficient of loneliness that detached from the soil of history, leading the reader to an attitude-free of references, trademarks or ideological or prospective," said Alfredo Bosi (1994). His poetry, according to Affonso Romano de Sant'Anna, can be divided into three parts: I, greater than the world – marked by ironic poetry I, lower than the world – marked by social poetry I, equal to the world – covers the metaphysical poetry In the late 1980s, his poetry began to become more erotic. O Amor Natural