In the newspaper La Diaria, which circulates here, she was described as “incredibly prolific despite her youth” (Artemisa, 1995).

This opinion is confirmed by her books and awards, although she tries to tone it down in conversation with Prensa Latina.

“Maybe it is because I work in several literary genres. In addition to my career as a visual artist. I have published several books in the last three years and some have been awarded,” she summarized.

But her resume shows that she has won around twenty awards in the genres of poetry, narrative and children’s literature.

Among them, the David, awarded by the Union of Writers and Artists of Cuba; the Pinos Nuevos, Calendario, La Edad de Oro, José Viera y Clavijo, and the Benito Pérez Galdós, from the government of the Canary Islands.

Her books of poetry are “Contrapeso”, “El circo de los asombros”, “Criogenia” and “La Habana me pedira una misa”. She also wrote the children novels “¿Qué nombre tiene tu casa?”, “La Comarca Silvestre” and “Un niño perfecto”.

Her texts can be read in Italian, English, French, Greek, Turkish, German and Tamil, among other languages.

In her travel backpack she keeps participations in international poetry festivals in Italy, Colombia, Mexico, Venezuela, Honduras, Greece and Turkey. From her experience in Montevideo, she explained that the Tenth World Poetry Forum had the objective of “making the work of poets visible outside of the usual environments and bringing it closer to the community and the everyday contexts of people.”

The formula to get there, she said, were recitals, book presentations and poetic actions.

It was organized by the Uruguayan poet Martin Barea and had the support of various institutions, including the Mario Benedetti Foundation, which sponsored her participation.

Giselle recited her verses at the opening of the forum, in the auditorium of the Faculty of Arts of the University of the Republic.

She also shared the stage in Villa Dolores Park, in La Ronda de los Poetas and in the mansion that houses the Benedetti Foundation.

The World Poetry Forum was quite an experience. What caught my attention the most is that “the poetry of the South has a strong and greater link with the theatrical”, the “perfomatic”; it is a much more experimental poetry from the interpretative emotions, she commented.

My interviewee says she belongs to the generation of authors from the Caribbean island born in the 90s of last century.

In her verses “the problems and philosophical questions that other Cuban poets also raised years ago are present.”

For her, “current Cuban poetry is in good health, as in other times. Although it adapts to contemporary dynamics and migrations.”

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