This work has as its goal analyzing how the intertextuality of the writers T. S. Eliot, James Joyce, Robert Stock, Emily Dickinson, Walt Whitman and Ezra Pound, occurs in the literary work of Mario Faustino. According to Bosi (1994) and Benedito Nunes (1985), the poetry of Faustino results of the various authors that he read in different moments, as in: Mallarme, Yeats, Rilke, cummings, Joyce and Pound, From Pound he used the motto “make it new”. The motto of Pound takes back directly or indirectly the voice of other authors in some of Faustino's poems. This fact was always taken as practical confirmations. That’s how we defined some parameters to choose which authors would be studied: We are going to use only Anglophone authors, and among them, only authors that Faustino translated in some literary supplement and in one magazine. Going from these points, the authors were divided in two cycles: The North cycle that contains the Art-Literature supplement and the North magazine; the Southeast that contains the Poetry-Experience supplement. In both cycles, we try to demonstrate how the author’s presences are felt in Faustino's works, by means of the creations of new poems based by the poems of Anglophone authors or by means of the incorporations of elements that define the characteristics of a single Anglophone author. In this work it is presented some considerations according to: Chaves (1986) Kristeva (1974) e Bakhtin (2003; 2006), Santiago (1978), Nunes (1985; 1986; 1997; 2009) e Campos (1977; 1992).According to Compagnon (2007) we can notice the reconstruction of the words. In this case, In this case, in the analyzes of the translations made by Faustino and his own work in which each step is a bond of an immense plot that links this text to other read texts and that were “cut out”, that are manipulated by one person at the same time author and reader (Faustino). This way the author/ reader, has practice working on quoting, that means, retell what was told by others.
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