Brazilian poet and essayist Augusto de Campos translated works by some of the most remarkable writers of European modernist poetry, such as Stéphane Mallarmé, Ezra Pound, and Vladímir Mayakovsky, among others. Along with his brother Haroldo and Décio Pignatari, he founded the literary magazine Noigandres—a neologism possibly meaning “escaping boredom.” In the nineteen-fifties, the journal signaled the beginning of concrete poetry in Brazil, an avant-garde movement which revolutionized arts and literature. Concrete poets aimed at disrupting the formal and structural levels of poems. By transcending the limits of semantic meaning imposed on words and instead explore language in its visuality and sound, they developed a close rapport with visual artists and musicians of their generation. With ease and conviction, Augusto de Campos plays with word arrangement, images and fonts for his poems. The visual impact of these artworks is undeniable, and therefore, many times it blurs their lyric (or anti-lyric) intensity.