Fada-Conto Rosa is a book that favors children's literature with 15 fairy tales or fairy tales. But it can also be said that it is a collection of enchanted stories based on the assumption that the investigation of fantasy, conducted by pure thought, goes far beyond the immediate data offered by dreams and reality. Every pen and ink that considers the human intellect is capable of reaching the fullness of objective writing, since the beautiful letters are organized according to laws, recurrences and subdivisions equivalent and similar to the organization of the cognitive style. There is reason to pay tribute to the literary genre adopted by Hans Christian Andersen and carried forward in varying degrees of expressiveness by Marie-Catherine d'Aulnoy and Charles Perrault, and the more empirical imaginative work that began with Giambattista Basile and, in the nineteenth century, continued with Brothers Grimm, Carlo Collodi and Andrew Lang. In the present work there are “No Reino dos Duendes”, “Caetana, the Sugar Cockroach”, “Madame Mandruvá”, “O Espantalho Paspalho” and “Na Morada dos Brinquedos” which are clearly surrealist in the sense that they highlight illusion or magic , as opposed to the senses or sensory perception. On the other hand, there are “Dom Rato Parmesão”, “A Primavera da Fada Primavera”, “Palhacito e Palhacento”, “Beto Besourão” that demonstrate nonsense, derision. The make-believe world is rarely very linear, but it always fits...
 
Extracted from the Foreword by C. Charriot – JackMichel Consultancy