In today’s society, every individual is consuming literature, whether by reading specialty magazines or those related to their hobbies and career, or by reading cult literature in order to broaden their horizons, both orientations coming to greet and answer their personal wishes and concerns. I believe that the imputed value of writing in a consuming society is given not only by its content, but also by the importance that the reader confers to, by the advertising or the rating it enjoys of. What I am proposing with this article is to make the reader become acquainted with, for some just updating a personality, a fine connoisseur of letters, with a great life experience, surprising through his original writing who deceived the communist’s censure, making use of stylistic devices to hide certain meanings. Mircea Horia Simionescu assumes in his masterpiece the position of a stage manager proposing an allusive „piece”, staging situations and characters camouflaged under the mask of the game, irony, creating situations of suspense and uncertainty, where the fantastic is treated realistically. The main coordinates of his creations require a permanent reinventation, a new geometrical text, experiencing all sorts of textual combinations, playing with forms, which at first sight could be shocking the reader. His architectural literature borrows and develops local and foreign models rendering them to the audience in his own way, making them very authentic, proving how malleable and permissible the literary material could be. Finally, he turns out to be a subtle esthetician who argues his opinions through examples based on his strong theoretical knowledge.