A good short story is a surefire shot to the heart. Once again, Dalton Trevisan hits the mark. In PICO NA VEIA, the author uses short, dry stories, constructed with biting irony and caustic humor, to cast an objective eye on the human condition, in all its hidden and ambiguous aspects. These concise texts portray the reality of today's Brazil, where poverty, unemployment, and despair in the face of hopelessness lead to suicide, humiliation, fear, bitterness, and sexual exploitation—particularly of women—in a first-rate fiction. PICO NA VEIA is a collection of about two hundred short stories. Some are longer, but for the most part, the book is a succession of mini-stories. In them, Trevisan's recurring themes reappear: the disasters of love, private hells, the war of the sexes, scenes from everyday life, the human condition. Everything is composed with an almost stingy choice of words, only forgiven by the poetic acuity of the best haikus. Nothing is lost in the precious essence of his plots. Many years ago, Dalton Trevisan stated that he would only achieve perfection when he composed complete stories with just two or three lines. In PICO NA VEIA, literally, for the wise, half a word is enough. Dalton Trevisan—considered by critics as the writer who best knew how to give dignity to human feelings—shows that less is more. With just a few words and other graphic symbols, PICO NA VEIA conveys all the afflictions of men and women. Little is known about Dalton Trevisan as a person. He guards his privacy closely, does not give interviews, and does not allow himself to be photographed, frustrating many with his irrevocable refusal. To those who ask him for interviews, he responds that to know more about his life, one need only read his books. He is there, body and soul. And, in PICO NA VEIA, another facet of his character is revealed.