Poetry. Latino/Latino Studies. Bilingual Edition. Translated from the Spanish by Jeannine Marie Pita. THE HISTORY OF VIOLETS is a collection of poems by Marosa di Giorgio, one of the most prominent Uruguayan poets of the twentieth century. Her unusual style, which attempts to recapture the magic of childhood while creating a new world populated by gods, angels, monsters, and the sublime presence of nature, has attracted much critical attention in Latin America. While some critics have categorized her as a surrealist, she herself denied membership in any literary movement or school. Although she was relatively unknown outside the Southern Cone, she is now becoming more and more widely read throughout Latin America and Europe.

The History of Violets

Literature & Fiction

DI GIORGIO, MAROSA

Poetry

Ugly Duckling Presse

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.

Diadem: Selected Poems (Lannan Translations Selection Series)

BOA Editions, Ltd.

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.

I Remember Nightfall (Lost Literature, 16)

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 engagement with di Giorgio has brought us an exciting and valuable gift."--Daniel Borzutzky "'It seemed as if everything was coming to an end,' writes Marosa di Giorgio in the first section of CARNATION AND TENEBRAE CANDLE, preparing the reader for the wondrous and terrifying world of contradictions that will follow: a lush countryside filled with enormous hares and enchanted begonias, meals of rats and apples as well as a 'wheat field of stars,' where readers must constantly renegotiate the borders between the inanimate and the living, the living and the dead. Even the most familiar relations transform until a father becomes the 'Chosen One' as well as 'an Oak Tree of Fine Understanding,' and a mother can be both savior to and the victim of her daughter. There are ghosts and 'war storms,' rapes and resurrections in a location both unmappable and as recognizable as the first prayers whispered from the mouth of a child who cannot possibly understand them. But there's nothing naïve about di Giorgio's work, and no other voice that sounds quite like hers. '[J]ust as I was walking among the eucalyptus apothecaries, at that time when the walls become filled with stars,' di Giorgio writes, 'I saw the language, and I immediately understood it, as if it had always been my own.' Jeannine Marie Pitas's English translations have helped bring this Uruguayan writer to a new audience. CARNATION AND TENEBRAE CANDLE will continue to solidify di Giorgio as a major voice from Latin America."--Susan Briante "In di Giorgio's childhood Salto, a wide-ranging and ever-vibrant flora and fauna nourished the memories she'd draw on for her work's extraordinary transfigurations. Eggs, insects, and reptiles exit or enter the body, either being born or invading the body's depths, generating an intense and shocking pleasure. Despite her Italian background, she affirms her belonging to an ancestral earth, to an indigenous enclave that nourishes her: she paints herself as 'a native princess under her anacahuita tree.' Bringing this landscape to life became a task of joy and responsibility for di Giorgio, her own unique mission, and one which she devoted herself to with passion and perseverance."--Roberto Echavarren "Marosa di Giorgio's CARNATION AND TENEBRAE CANDLE is a complex world, where the present and past coexist, where animals and plants are humanized, and where the oneiric, the real, and the magical operate on the same plane, guided by an immersive, surrealist rhythm."--Laura Cesarco Eglin

Carnation and Tenebrae Candle

Cardboard House Press

OTRAS VIDAS

Adriana Hidalgo Editora

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Los Papeles Salvajes (Spanish Edition)

Adriana Hidalgo Editora S.A.

La Flor de Lis with CD (Audio) (Spanish Edition)

EL CUENCO DE PLATA

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