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No develarás el misterio
Este libro reúne treinta y dos entrevistas realizadas a Marosa di Giorgio entre 1973 y 2004. Fueron hechas por periodistas. críticos literarios y poetas. y aparecieron en diarios. suplementos culturales. revistas y publicaciones académicas de distintos países. La diversidad de entrevistadores y medios se refleja además en el tipo de abordaje. que incluye la indagación de especialista. la requisitoria coyuntural ante la aparición de un libro. la encuesta y ciertas variantes del cuestionario Prosut. El libro conforma una nueva vía de entrada al universo de Marosa di Giorgio. El relato que hacía de su vida y de los modos en que entendía la escritura puede ser leído como parte de su obra. porque está en su mismo registro. Marosa di Giorgio nació en Uruguay. Es una de las voces mayores de la lírica latinoamericana. Sus poemas y relatos han sido traducidos al inglés. francés. portugués e italiano.
168 pages, Paperback
Published January 1, 2014
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About the author
Marosa Di Giorgio
33 books67 followersMarosa di Giorgio (1932–2004) was a Uruguayan poet and novelist.
Marosa di Giorgio is considered one of the most singular voices in Latin America. Critics tend to agree that her writing is greatly influenced by European surrealism, although her vocabulary, style, and imagery are uniquely her own. Her work deals predominately with the imaginary world of childhood and nature.
In the past few years, Latin American critics such as Hugo Achugar, Luis Bravo, Leonardo Garet, Sylvia Guerra, María Alejandra Minelli, and María Rosa Olivera-Williams have explored Marosa Di Giorgio's writing. Uruguayan poet Roberto Echavarren published in 1991 "Transplatinos", which offers an excellent introduction to Di Giorgio's writing. Selected poems from The March Hare have been translated into English by K.A. Kopple and published in the 1995 by Exact Change Yearbook. An article discussing gender politics, parody, and desire (as elaborated by Gilles Deleuze) also written by K.A. Kopple appeared in March 2000 in the Journal of Latin American Cultural Studies. In'Identity, Nation, Discourse: Latin American Women Writers and Artists, edited by Claire Taylor (Cambridge Scholars Publishing, 2009), Soledad Montañez opens up a new discussion of Di Giorgio's erotic writing. Montañez shows how "Di Giorgio's erotic prose illustrates the representation and performance of patriarchal hierarchy as a perverse comedy, creating a genre that constructs gender narratives in order to undermine the patriarchal system from within."Montañez also affirms that "The effect achieved in Marosa's radicalised narrative is ultimately a mocking performance, a burlesque discourse that reveals and denounces domination and power. Through a perverse representation Marosa exposes the complicated matter of culturally constructed sexual norms and develops a writing that is at the same time disturbing and astonishing" (2009: 158).
In 1982 she received the Fraternity Award for literature
Marosa di Giorgio is considered one of the most singular voices in Latin America. Critics tend to agree that her writing is greatly influenced by European surrealism, although her vocabulary, style, and imagery are uniquely her own. Her work deals predominately with the imaginary world of childhood and nature.
In the past few years, Latin American critics such as Hugo Achugar, Luis Bravo, Leonardo Garet, Sylvia Guerra, María Alejandra Minelli, and María Rosa Olivera-Williams have explored Marosa Di Giorgio's writing. Uruguayan poet Roberto Echavarren published in 1991 "Transplatinos", which offers an excellent introduction to Di Giorgio's writing. Selected poems from The March Hare have been translated into English by K.A. Kopple and published in the 1995 by Exact Change Yearbook. An article discussing gender politics, parody, and desire (as elaborated by Gilles Deleuze) also written by K.A. Kopple appeared in March 2000 in the Journal of Latin American Cultural Studies. In'Identity, Nation, Discourse: Latin American Women Writers and Artists, edited by Claire Taylor (Cambridge Scholars Publishing, 2009), Soledad Montañez opens up a new discussion of Di Giorgio's erotic writing. Montañez shows how "Di Giorgio's erotic prose illustrates the representation and performance of patriarchal hierarchy as a perverse comedy, creating a genre that constructs gender narratives in order to undermine the patriarchal system from within."Montañez also affirms that "The effect achieved in Marosa's radicalised narrative is ultimately a mocking performance, a burlesque discourse that reveals and denounces domination and power. Through a perverse representation Marosa exposes the complicated matter of culturally constructed sexual norms and develops a writing that is at the same time disturbing and astonishing" (2009: 158).
In 1982 she received the Fraternity Award for literature
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Displaying 1 - 3 of 3 reviews
June 23, 2021
¡Me encantó! Esto es un recopilatorio de entrevistas a la escritora uruguaya Marosa Di Giorgio, pero no lo es. Es un libro lleno de poesía. Imposible separar autora de obra, cuando Marosa vive en su universo literario. Una maravilla descubrirla así. Ya estoy deseando leer "Los papeles salvajes", aunque ella dirá que su obra es una única novela, a la cual cada vez le suma "una perla a la tiara". Joyita.
January 13, 2022
* 3,5
Más allá de la insalvable repetición en las preguntas que se sucede cuando se compilan 32 entrevistas, la genialidad y el aura mística de Marosa tiñe cada respuesta de colores imposibles. Es Diosa y Reina de su mundo y, por suerte, nos invita a pasar.
- Los elementos que componen su mundo poético...
- Hadas había muchas; rosas, de todos los sabores; miel, de todos los colores; licoreras, recuerdo dos, sobre todo una rosa y otra color turquesa: a mi me parecía que eran dos familiares muertos que en vez de irse al cielo se habían quedado allí, cristalizados, estrellados: las miraba siempre (...) De cristal era casi todo, el rocía, la lluvia, el sol, la luna, los ojos de los gatos, los recuerdos.
Más allá de la insalvable repetición en las preguntas que se sucede cuando se compilan 32 entrevistas, la genialidad y el aura mística de Marosa tiñe cada respuesta de colores imposibles. Es Diosa y Reina de su mundo y, por suerte, nos invita a pasar.
- Los elementos que componen su mundo poético...
- Hadas había muchas; rosas, de todos los sabores; miel, de todos los colores; licoreras, recuerdo dos, sobre todo una rosa y otra color turquesa: a mi me parecía que eran dos familiares muertos que en vez de irse al cielo se habían quedado allí, cristalizados, estrellados: las miraba siempre (...) De cristal era casi todo, el rocía, la lluvia, el sol, la luna, los ojos de los gatos, los recuerdos.
January 25, 2022
…crecí en los bosques 🌳, como la frambuesa… le tengo amor a lo silvestre. Amo a los tucu tucu, a las liebres y a las mariposas.
Displaying 1 - 3 of 3 reviews