Paul Goma’s literature needs to be understood in the same way as the good old Bach’s music, in the sense of an exercise of simultaneous encompassing of a series of thematic lines, stylistic registers, voices, etc. which have an asymmetric evolution in all writer’s books. A simultaneous kind of approach to the thematic and formal work, reverberated in multiple ways on the level of involved voices, which are differently articulated in the writer’s work, could favour our reception and solve dilemmas concerning the interior order of the whole. In this article the author tries to formulate the criteria on which Paul Goma’s literature is built. His work is structured on multiple thematic lines, which are virtuously and subtly made part of the artistic whole. The author also tries to point out themes (two for the beginning: the art of poetry and the image of the woman) which are taken by the author as starting points. He combines them, changes their places, and virtuously develops in the smallest modulations and branches. Polyphonically reflected in the concert of books, these thrillingly and dramatically express power lines of the human soul.