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El Gran Ratón Dorado, el Gran Ratón de lilas: Relatos eróticos completos
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 toda las noches, o ser un nardo, no llama la atención. Sus “relatos eróticos” de la última época (que son realmente eróticos, con una exaltación de libertad que no suele tener la literatura erótica convencional) no difieren mucho de su obra anterior; de hecho se diría que toda su obra confluye hacia el erotismo.
César Aira
César Aira
288 pages, Paperback
Published September 1, 2018
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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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February 17, 2014No terminé de leer el libro, por lo que no le voy a dar estrellas, sin embargo igual voy a opinar al respecto.
De lo poco que leí diría que es maravilloso en prosa, en lenguaje, en descripción. Un sinnúmero de cuentos eróticos pero que escapan muchas veces a la realidad, si existe un género para este libro sería realismo mágico erótico.
Sin embargo, y la razón por la cual no lo terminé, es porque si bien sorprende es algo reiterativo, y después de unos cuantos, agota. Es un libro para hojear, y tener en el librero. Para complacer a la mente y el paladar con sus palabras y sus ensueños cada vez que uno desee. Pero me vi incapaz de leérmelo de una. Sentí, además de que si lo leía completo y con rapidez no lo disfrutaría lo suficiente.
De lo poco que leí diría que es maravilloso en prosa, en lenguaje, en descripción. Un sinnúmero de cuentos eróticos pero que escapan muchas veces a la realidad, si existe un género para este libro sería realismo mágico erótico.
Sin embargo, y la razón por la cual no lo terminé, es porque si bien sorprende es algo reiterativo, y después de unos cuantos, agota. Es un libro para hojear, y tener en el librero. Para complacer a la mente y el paladar con sus palabras y sus ensueños cada vez que uno desee. Pero me vi incapaz de leérmelo de una. Sentí, además de que si lo leía completo y con rapidez no lo disfrutaría lo suficiente.
April 28, 2014
Como Messi llavando la pelota en zig zag imparable, el lenguaje de Marosa de Giorgio es milagro constante. En este caso, Cuenco de Plata reune una compilación de sus textos eróticos en donde flores e insectos, fauna, faunos y niñas virgenes intercambian fluidos en un ambiente mezcla de bosque de cuentos de hadas y calmosa ribera en una caliente siesta del litoral uruguayo. Escritos en prosa, aunque para Marosa no existan los géneros ni las formas, ya que todo lo que escribe es fulgor extremo, poesía de belleza absoluta.
January 25, 2026
gracias, supongo 💖🐁
Displaying 1 - 3 of 3 reviews