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.
ADAM MORRISBorges, in part to legitimize his own Europhilia, correctly pointed out that expecting writers to engage with these romantic nationalist tropes was arbitrary and limiting, a genre that was demonstrative of its own artificiality.
More Adam Morris Quotes
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I realized I had some cultural capital to spend, and I wanted to use it to introduce another author who might be considered a risk by conventional publishers. Michael Noll was at the top of my list.
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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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This neglect of a very important Brazilian writer is, in my view, the result of Brazil’s relative isolation from what metropolitan tastemakers.
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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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This makes his writing very pleasing to read: João Gilberto Noll pays attention to detail, but only to certain details. And it’s never easy to foresee which details will send the narrator or the plot in an unsuspected direction.
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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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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Some critics have commented that understanding the specific Brazilian political context of the novel is helpful for reading Quiet Creature. This may be true, but it’s not prerequisite for understanding it.
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Reading across three languages is a way for me to diversify my intake as a reader, not to tunnel into certain categories or demographics.
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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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I don’t think there’s anything that I would call essentially Brazilian in João Gilberto Noll work. In that regard, it translates very well to a cosmopolitan audience.
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The main reason I decided to study Latin American literature was because I’d gotten somewhat bored by the American fiction I was reading. I am not drawn to a specific style or aesthetic.
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Noll is highly respected in Brazil, and at the same time divisive, somewhat like Hilda Hilst. Neither of them enjoys the universal acclaim you might associate with Clarice Lispector, whom everyone adores, myself included.
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Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury.
ADAM MORRIS