Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
ADAM MORRISOne of my methods for developing my own voice in fiction, a process I am taking very slowly and deliberately, is through these very intense encounters with certain writers.
More Adam Morris Quotes
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Which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject.
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I have a few minor rules for myself but I break them all the time. For example, when translating from Romance languages to English, there is often a choice between a Latinate cognate and a Germanic equivalent.
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Once I looked into it, I was taken aback to learn that pretty much nothing by Joao Gilberto Noll was available in English translation.
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The Brazilian national identity is not one of João Gilberto Noll primary concerns. This does not mean social critique is absent: race, gender, and class relations are considered in Quiet Creature.
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One that actually relates to all Latin American literature: that is, not every author is interested in being a representative of his or her national culture on the global stage.
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I primarily write nonfiction. Research, reflection, and spending time with ideas are important to me. So, this is how I spend most of my time writing – in thought.
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Still, I considered it a tremendous injustice that Noll had not been more widely translated and was determined to rectify it.
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An easy example would be the Portuguese escuridão:
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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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If João Gilberto Noll were writing in French or German or even Russian, it’s likely he’d be more broadly translated.
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English can be tricky because there are so many false cognates, but sometimes, as long the idea conveyed is not wrong, these false cognates can themselves offer synonyms or lead to a better alternative word or phrase in translation.
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The Argentine literary tradition was believed by many, including many Argentines, to be concerned with a national imaginary in which the gauchos and the pampas and the tango were fundamental tropes.
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I translated the novel and still it remains a mystery as to how exactly how this works. Noll thinks more like an experimental filmmaker than a novelist.
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English offers both obscurity and dark or darkness, and some translators will tell you the Latinate word is generally reserved for poetic and figurative expressions, while the Germanic word is used for colloquial and idiomatic use.
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Strength and power in fiction is being able to resist these intoxicating voices, recognizing that they are the signatures of other writers and not one’s own.
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