Scholarly Papers point out the eccentricity of the Uruguayan poet Marosa di Giorgio as well as the difficulty to classify her person or her work in any poetic or esthetic tradition. I propose that this enormous difficulty to locate or understand Marosa di Giorgio and even the uncertainty when choosing the hermeneutical tools that could allow reading her work lie in the Monstrous of her literature. I understand the Monstrous not as an aesthetic category, but a cultural one. In this article I track the presence of Monsters or of the Monstrous in the storybooks Misales (1993) and Camino de las pedrerías (1997) and propose reading them in three different levels that also coincide with three possible definitions of Monstrosity : 1. The monstrous body, 2. The monstrous behavior and 3. The monstrous language.