Una de las voces mayores y más singulares de la lírica latinoamericana, la uruguaya Marosa di Giorgio (1932-2004) nos brinda todos sus relatos eróticos reunidos en un solo volumen: Misales, Camino de las pedrerías, Lumínile y Rosa mística. Todos ellos comparten un riquísimo universo común, a caballo entre el realismo mágico, el surrealismo y la poesía erótica más inclasificable, prima hermana acaso de un panteísmo muy cercano, sensorial, rural. Dice de ella César Aira: «El mundo de Marosa di Giorgio está todo hecho de transformaciones, de sorpresas, de pasajes fluidos entre lo humano y lo animal; oscila entre el cuento de hadas y la alucinación, y lo preside una imperturbable cortesía que no excluye la ironía o la crueldad. En sus poemas no es infrecuente que la niña que los cuenta tenga amores con un caballo, o un caracol, o una bruja, y dé a luz de inmediato un huevo grande de hule verde, o pequeño de porcelana roja; salir volando, o morirse todas las noches, o ser un nardo, no llama la atención. Sus “relatos eróticos” de la última época (que son realmente eró- ticos, con una exaltación de libertad que no suele tener la literatura erótica convencio- nal) no difieren mucho de su obra anterior; de hecho se diría que toda su obra confluye hacia el erotismo». Erotismo que relato tras relato se va metamorfoseando en una búsqueda de otro tipo de comunión, más mística que sexual, y a la que debe su nombre este libro ya de culto: una verdadera Misa de amor.
Author
Marosa 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
