Critics tend to agree that her writing is greatly influenced by European surrealism, although her vocabulary, style, and imagery are uniquely her own.

Uruguayan poet Roberto Echavarren published in 1991 "Transplatinos", which offers an excellent introduction to Di Giorgio's writing.

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.

"[1] 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).