the deserted backlands and marked with a branding iron. Two old sertanejos rescue him and give him cares in their house; during his convalescence, a priest administers blessings to him and promises the violated man that all persons are intended to a particular and decisive moment of salvation. Once cured, he proclaims his wish to go to heaven "nem que seja a porrete" ("even though by a cudgel"), and engages vigorously in farm working and good deeds and finds the companionship and friendliness of the jagunço leader Seu Joaõzinho Bem-Bem, who, reckoning the man's vocation to arms, invites him to his group, an offer which Nhô Augusto refuses in order to comply with his whish of ascending towards God. Rosa later describes a scene where the explendour of nature is revealed to him through the bright colors of the flowers and the liberty of the birds. Affected by this revelation, Augusto departs to wander through the sertão in search of his “time and turn”. His demand only finds completion through a fight to death with the very leader of jagunços he once befriended. It is through a violent insurgence against what he sees as an unjust deed performed by the jagunços that Nhô Angusto ascends to a saint-like contention. Corpo de Baile Guimarães Rosa next book was Corpo de Baile (roughly, "Corps de Ballet"), published then years later, in 1956. For the second edition, the collection was divided into three parts, now usually published separatedly: Noites do Sertão (“Nights of the Sertão”); Manuelzão e Miguelim (a play on words with the names of two characters from the stories, using Portuguese augmentative and diminutive suffixes, translating reasonably as “Big Manuel and Little Miguel”); and, “No Urubuquaquá, no Pinhém” (“In the Urubuquaquá, in the Pinhém”, the names being locations in the stories). Such policy of publication, although authorized by the author himself, breaks the original structure of the book, whose complexity is often remarked. The very name of the collection points to this fact: the "corps de ballet" it refers to are the conjunction of symbols and ideias that figure repeatedly across the seven short-novels, reappearing here and there in this or that manner in order to gain yet another level of meaning. This "dancing" of motifs and metaphors takes place inside and outside of the stories. Among them, Rosa notably elects figures from astrology to compose and ordinate the plots and