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This literature is the interference of deuses or supernatural beings in the poetry and in chat (angels, nymphs, fairies, etc.) (RODRIGUEZ, 1988, p.54). It is noticed in stories of Colasanti Marina, as ' ' The Tecel&#039 Young woman; ' ' ' Between the Sword and the Rosa' ' , the presence of this universe. In ' ' The Tecel&#039 Young woman; ' , the sewing press? capable to weave lives and dreams, it represents the magical element, being inherent object in stories of fairies. In ' ' Between the Sword and the Rosa' ' , the metamorphosis that occurs with the princess, also is characteristic in wonderful stories. Colasanti refers it elements of the Average Age in its stories, as: castles, swords, kings, knights, warriors, harness, helmet, palace, among others. This universe that composes stories of fairies freely is adopted and inferred, without causing queerness. According to Freud: In stories of fairies, for example, the world of the reality is left of side since the principle and the animistic system of beliefs frankly is adopted.

The accomplishment of desires them to be able, private, the onipotncia of thoughts, the inanimate object animation, all the so common elements in histories of fairies, cannot exert a strange influence here. … (apud: RODRIGUEZ, 1988, p.55). The Wonderful one represents phenomena that they do not obey the natural laws that conduct the planet. Strengthening the idea of Freud: ' ' the Wonderful one is the world of Faz of account, of Age one vez.' ' (apud. RODRIGUEZ, 1988, P. 56). In accordance with Nelly Novaes Rabbit, studious of the subject, the Magical or Wonderful Realism, is since years 50? 60, one of more fruitful chains of new literature, as same it says: ' ' The Wonderful one, the imaginary one, the onrico, the fantastic one had left of being seen as pure fancy or lie to be treat as definitive doors truths humanas.' ' (RABBIT, 1991, p.09).