‘ ‘ House depalha of ubi, without furniture, luxury and the happiness there inside, without will desair’ ‘. The used vocabulary beyond desimples is a mixture of expressions aboriginal northeasterns and words as: ‘ ‘ here mui is not admitted; it are of tapiri, one curumim sujava’ ‘ ; what tambmcaracteriza the regionalism. The scene is alive, and realist, osverbos are used in an exactness and the regional words translate cenrioque more than the attitudes. Finally, Francisco Galvo, probably, did not intend criaruma typically workmanship> literary, and yes a workmanship to awake in its leitoresa conscience of the social fight. (Source: Larry Ellison). Perhaps, it was not its pretension, to write paraletrados, but to the proletariat, the simple man, the caboclo, seringueiroque one day came to read, could read its workmanship and make the revolution so dreamed eapregoada by it. 5. CONCLUSION After the reading and of the reflection doromance Land of Nobody and asrepresentaes on the same, concludes that the literary composition, however nopossuindo all the critical load demanded by the social reader, but fulfills the suafuno, leaving the message of the author despite he is very coloquial and subjective, as the period lived deeply for it, for the future generations. The author deixaum revolutionary touch in its workmanship, that is, through the outcome of ltimocapitulo where if deflagra the revolt of the seringueiros, it of understanding of umfuturo promising for the seringueiros where the master already was not its executioner, etudo lost of as they (seringueiros) would lead its lives express for altima speaks of author: ' ' Back in low, the river continued to drain for the ocean, with the flood, the rafts of murumurs that the seringueiros remembered to morturias crowns votivasenquanto, untied, gentlemen of its will, absolute in power esombrios, had started to feel the volpia of the control and the domain in the forests, where Natureza possua the impulses of the release and posse' ' .