From the perspective of travel writing, we propose to investigate the procedures used by Murilo Mendes in Carta Geográfica (Geographic Letter), and along with this, study the strategies of the poet, his drawings of maps and letters, regarding the displacement of texts and their relations with the body of the work. Amongst other issues, when dealing with Carta Geográfica, we have to deal with its incompleteness and imperfections - in the Portuguese sense of inacabado/unfinished, as observed by Luciana Stegagno Picchio, in a comment to the notes and variants of the edition of his complete poetry and prose. Picchio also says that Carta geográfica will remain as a scrapbook, a book of notes and leftovers. An immediate effect of this is to renew interest for this book, because it indicates that collage and scripts were used as strategies, procedures so dear to Murilo Mendes. A significant interest for his work in prose can be explained by the memorialist character of these texts. Many readings have been made based on archive theories and self writings; however, our intention is to read Carta Geográfica as a cartography of desires, using navigation strategies that should, in a way, function as intertextual messages in bottles which are thrown out to the sea during the dynamics of guided tours.