The Author analyzes 'Um copo de cólera' (1978), by Raduan Nassar, and 'Estorvo' (1991), by Chico Buarque, aiming at observing the possible relationship between the romanesque form and the representation of deadlocks faced in the social and political brazilian context in the last quarter of the 20th century. Starts from the hypothesis that the social and political issues evoked in the books suggest a formal deadlock which refers back to a thematic deadlock.
