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This research aims to read, in the perspective of comparativism, Arménio Vieira's poetic work, reaching the following books: Poemas (1981); MITOgrafias (2006); O poema, a viagem, o sonho (2010); O Brumário (2013a); Derivações do Brumário (2013b); Sequelas do Brumário (2014); Fantasmas e fantasias do Brumário (2015).The poems, coated by layers and polyphonic dialogs, offer themselves as a rhyzomatic and labyrinthic writing to reader's eyes. Therefore, understanding the space of representation of Arménio's writing demands a careful reading of the intertextuality, which generates the questions that the writer imposes to himself and by extension to the reader. Another fact to be highlighted in the research is that concerning the deconstruction, since this procedure makes it possible to disassemble the text and converting it into an object of multiple readings, linking the words to the principles that form them and, at the same time, to the points that move them. Equally relevant is the notion of game, either as a theme or as an authorial procedure, revealing the various possibilities of entry and exit in the text, extending it in a constant movement and becoming: that of playing and reading. The theme of death is inescapable because it presents itself as a vanishing point, an allegorical space of finitude and hell, being that as a metaphor of literary doing and of writing itself, it performatizes the substance of the game and that of playing. The research was mainly based on studies by Marc Augé (1989, 1994, 1998, 2003, 2006, 2015), Gaston Bachelard (1996), Roland Barthes (1987, 1994, 2001, 2004, 2007), Maurice Blanchot (1987, 2005, 2011), Gilles Deleuze e Félix Guattari (1995, 2000a e 2000b), Jacques Derrida (1972, 1973, 1975, 1978, 1979,1987), Michel Foucault (1994,1999, 2001, 2009), Hans-Georg Gadamer (1985, 1991, 1999), Johan Huizinga (2014), Agustín Fernández Mallo (2009).

A poética de Arménio Vieira: labirinto, trânsito, rizoma