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The History of Violets
Originally published in 1965, The History of Violets (Historial de las violetas) twists the familiar face of a family farm, populating the fields and grounds with gods, monsters, and a whole "foamy army" of extras. Di Giorgio--whom Kent Johnson hails as "one of the most spectacular and strange Latin American poets of the past fifty years"--locks the natural and supernatural in a perilous dance, balancing humor and violence, beauty and danger, simple childhood memory and complex domestic drama. With disarming grace, these poems leave the reader swirling about, among the flowers, where no one is safe. "There's a lot at stake here, namely the opportunity for a new generation of American poets to take di Giorgio as a model for wresting the 'poetry of witness' away from humanism's easy faith in testimony and remembering that the imagination is the organ of compassion." --Farid Matuk
I Remember Nightfall
Poetry. Latino/Latina Studies. Translated from the Spanish by Jeannine Pitas in a bilingual edition. Cover art by Basil King. This new translation of Marosa di Giorgio, one of Uruguay's most famous poets, includes four book-length poems from the middle of her career: The History of Violets (1965); Magnolia (1968); The War of the Orchards (1971); and The Native Garden is in Flames (1975). Occupying the same childhood landscapes that may be familiar to English-language readers from the previously published volume The History of Violets (Ugly Duckling Presse, 2010), these serial prose poems explore memory, familial relationships, erotic desire, and war. Marosa di Giorgio uses the recurring setting of a garden as a stage for the ongoing encounter of nature and the supernatural.
Jasmine for Clementina Medici
Translated from the Spanish by Peter Boyle, with an introduction by Roberto Echavarren. In this extraordinary last book by Uruguayan poet Marosa di Giorgio poetic fragmentation, memories, nightmares and brief surreal sequences create a portrait of a mother, her daughter and the relationship between them stretching over a lifetime. Simultaneously evoking childhood and old age, tenderness and horror, di Giorgio gathers the sense of an entire life in its sadness and dignity. One of the great renovators of Uruguayan literature, through her bold experimentalism di Giorgio blurs lines between genres to deliver the raw immediacy of experience. Jasmine for Clementina MEdici is the final book-length ...
POEMS OF OLGA OROZCO MAROSA DI
This first volume in Vagabond's new Americas series brings together three poets from South America spanning three different generations, each with a distinct voice and a unique world to explore.
Diadem: Selected Poems
Marosa di Giorgio has one of the most distinct and recognizable voices in Latin American poetry. Her surreal and fable-like prose poems invite comparison to Franz Kafka, Julio Cortázar, or even contemporary American poets Russell Edson and Charles Simic. But di Giorgio's voice, imagery, and themes—childhood, the Uruguayan countryside, a perception of the sacred—are her own. Previously written off as "the mad woman of Uruguayan letters," di Giorgio's reputation has blossomed in recent years. Translator Adam Giannelli's careful selection of poems spans the enormous output of di Giorgio's career to help further introduce English-language readers to this vibrant and original voice. Marosa di Giorgio was born in Salto, Uruguay, in 1932. Her first book Poemas was published in 1953. Also a theater actress, she moved to Montevideo in 1978, where she lived until her death in 2004.
Carnation and Tenebrae Candle
Poetry. Latinx Studies. Women's Studies. Translated by Jeannine Marie Pitas. "This new collection by Marosa di Giorgio, long considered a major figure in Latin American literature, is the work of a translator who has immersed herself, with great thoughtfulness and dedication, in the life of a writer whose poetry is foreboding, mystical, dangerous and magnificent. Everywhere in di Giorgio's oeuvre, there are wars, crimes, monsters, possessed plants and animals, ghosts, illnesses and miracles animating a world that is always on the verge of explosion. Di Giorgio's writing is as foreboding as it is tentacular, as intricate as it is unsettling. Jeannine Marie Pitas' ongoing and remarkable engage...
Contemporary Uruguayan Poetry
"The editor of this anthology addresses this literary omission by identifying seventeen Uruguayans deserving of recognition: Jorge Arbeleche, Nancy Bacelo, Washington Benavides, Mario Benedetti, Amanda Berenguer, Luis Bravo, Selva Casal, Rafael Courtoisie, Marosa Di Giorgio, Enrique Fierro, Alfredo Fressia, Saul Ibargoyen, Circe Maia, Jorge Meretta, Eduardo Milan, Alvaro Miranda, and Salvador Puig. The selection of these poets is based on extensive research and personal taste, but also because they have a recognized, sustained record of published books of poetry, especially during the 1990s; they have been favorably acknowledged for their work by peers and critics--through reviews and interv...
Identity, Nation, Discourse
This volume explores womenâ (TM)s literary and cultural production in Latin America, and suggests how such works engage with discourses of identity, nationhood, and gender. Including contributions by several prominent Latin American scholars themselves, it seeks to provide a vital insight into the analysis and reception of the works in a local context, and foster debate between Latin American and metropolitan academics. The book is divided into two sections: Women and Nationhood, and Models and Genres. The first section comprises six chapters which examines womenâ (TM)s responses to, and attempts to carve out space within, national discourses in a Latin American context. Spanning the ninet...
Tremulous Hinge
Rain intermits, bus windows steam up, loved ones suffer from dementia—in the constantly shifting, metaphoric world of Tremulous Hinge, figures struggle to remain standing and speaking against forces of gravity, time, and language. In these visually porous poems, boundaries waver and reconfigure along the rumbling shoreline of Rockaway or during the intermediary hours that an insomniac undergoes between darkness and dawn. Through a series of self-portraits, elegies, and Eros-tinged meditations, this hovering never subsides but offers, among the fragments, momentary constellations: “moths all swarming the / same light bulb.” From the difficulties of stuttering to teetering attempts at love, from struggling to order a hamburger to tracing the deckled edge of a hydrangea, these poems tumble and hum, revealing a hinge between word and world. Ultimately, among lofting waves, collapsing hands, and darkening skies, words themselves—a stutterer's maneuvers through speech, a deceased grandfather’s use of punctuation—become forms of consolation. From its initial turbulence to its final surprising solace, this debut collection mesmerizes.
The Necropastoral
An exploration of poetry as an expression of biology
