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Considered the most expressive name in the second moment of Brazilian Modernism, Graciliano Ramos departs from other northeastern writers of the 1930s, since while sharing their main concern with the regional reality, he also proceeds with the experimentation that characterized the generation of 1922. Accordingly, for each of his narratives Graciliano contrives different aesthetic solutions, hence the unique style of works such as São Bernardo and Vidas secas (Barren Lives). It is true, however, that Ramos neglected the grammatical liberty introduced by the first Modernists, opting instead for traditional syntax. Thus he is considered an experimental writer, but a “classical experimentalist.”