To if relating to this proximity of the author in question, Vera Maqua (Of the Labyrinths and waters: Between Barros and Dickes 2009, 193) affirm that: ' ' Literatures in Latin America they had inspired many writers to argue the absolutism and the authoritarianism in literatura' '. In the case of Ricardo Guillermo Dicke this was not different, same it not pointing directly with respect to such social events, its romances reflects these estimated, where if the control not only argues politician, but also of artistic making. When it presents this game of being able perceives that: ' ' … Dicke, in its romances? he punishes? the oppressors through the mythical narrative, where the capitalists, the foreigners, the modernizadora culture of the national metropolises, the farm owners, the priests, the dictators suffer the consequences of its acts through the elements on-humanos' '. (Barbosa, 2005 p.65) Barbosa (2006) when presenting these estimated still more approaches the dickeana writing of the Latin American writers, therefore the main conflict between the developed countries and the underdevelopeds if bases on the economic exploration. This thematic one is present in the writing of R.G.Dicke, symbolized in the punishment of the powerful ones, as he is described in the excerpt.
To present these conflicts, where the man if loses, it is without route or it is explored, I banish from its land, Dicke makes the constant use of images, however of the hinterland weeds-grossense however of its mythical personages. According to Magalhes (2001, p.214): The dickeano hinterland is supported by the contents of the unconscious one, translated in the supernatural one, in the fantastic space, in the magical territory, at last town of driven crazy people Biblical mitolgicas figure and, a hinterland images appeared unconscious. A hinterland-anguish, a hinterland-madness, in contrast of the roseana version, sublimada for the rational questioning of Riobaldo, therefore, a seto-reply, a hinterland-pacification.