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And these are universal relational matters, not necessarily particular to any country.

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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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Broadly Country Likely Noll People Translated Writing
So likewise in João Gilberto Noll, readers shouldn’t expect samba and Carnival and football. The Brazilian national identity is not one of his primary concerns.
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Carnival Concern Football Identify Likewise National Noll Primary Reader Samba
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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers
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An easy example would be the Portuguese escuridão:
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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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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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Aback Available Determined Injustice Looked Nothing Pretty Taken
The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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I only translate authors whose work already interests me as a reader, and that’s a decision I make based on multiple encounters with an author’s work.
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Even my editor at Melville House, who championed the project form the outset, told me she was surprised by the response. After this, editors began asking my opinion about which Latin American writers ought to be translated.
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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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Constructed Experience Modernization Mythic National Subject Unique
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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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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The transcendent aspect of the psychedelic experience is totally absent.
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Absent Aspect Experience Psychedelic Totally Transcendent

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