In the work of Marosa di Giorgio (1932-2004), the experience of Uruguayan countryside, in which she lived up until her teenage years, leaves an indelible trace that becomes the core of a peculiar literature. Her prolific work, which includes poems in prose and narrative, has often astonished and disoriented critics. Few of them have carried out a thorough analysis of her complete work. Instead, for many years, di Giorgio has remained classified as a "strange poet" and her books have been approached by critics in a tangential and incomplete way. One of the goals I intend to achieve is to go beyond this point.

First, I focus on the city-countryside tension present in di Giorgio's poetic compilation Los papeles salvajes as related to her personal story but also as a triggering force that shapes her writing. Although her fictional universe is eminently rural, I examine how the presence of the city arises in the horizon as the final cause responsible for the disappearance of her beloved childhood space. I show how di Giorgio re-signifies shocks and brightness/light, both directly related to the space of the city, and places them in her family's small farm in order to transform the rural landscape into a territory that does not bear exclusively the economic value imposed by the city. By doing so, di Giorgio presents this rural domain as complete otherness in relation to the city, protecting it from the city's threat.

Second, I analyze the wild and incredible erotic encounters that take place in nature, a repeated topic of all her narrative, as an experience of otherness and becoming. Special emphasis is placed on her novel Reina Amelia since it presents how otherness, in the erotic field, is always punished in the city. Finally, I argue that the eroticism proposed by di Giorgio is of peculiar divine nature.

Finally, I explore in depth how otherness and the experience of becoming/metamorphosis intertwine as a key force of di Giorgio's literary universe. In addition, I study how this conjunction of otherness and becoming/metamorphosis manifests itself in di Giorgio's particular writing style.