“I am surprised by the word psychedelic. João Gilberto Noll does not accept realism in a straightforward way, but I am more inclined to call Quiet Creature a realist text than I am to call it a psychedelic one.”

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.

An easy example would be the Portuguese escuridão:

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.

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.

Still, I considered it a tremendous injustice that Noll had not been more widely translated and was determined to rectify it.

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.

Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers

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.

I was confident that I could find an editor and the readership for a translation

Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.

This neglect of a very important Brazilian writer is, in my view, the result of Brazil’s relative isolation from what metropolitan tastemakers.

Unless you count the political backdrop, which in any case is a familiar one to many international readers

When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.

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.

If João Gilberto Noll were writing in French or German or even Russian, it’s likely he’d be more broadly translated.

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.

I never hesitated, as a student, in embracing the necessity of violence. In South Africa, I didn’t just accept it; I looked forward to it as a mission.

What is an anarchist? One who, choosing, accepts the responsibility of choice.

I regard them as earth’s heroes. But I do not wish to believe them without cause, nor to accept those propositions whose antitheses (as you must have understood if you are not both blind and deaf) are so compellingly true.

Religion is ‘if you obey, then you will be accepted’. But the Gospel is, ‘if you are absolutely accepted, and sure you’re accepted, only then will you ever begin to obey’. Those are two utterly different things. Every page of the Bible shows the difference.

I think part of picking where you live in New York is accepting who you are. Really looking at yourself and going, ‘Yeah, I’m not cool enough for the West Village.’

Religion operates on the principle ‘I obey-therefore I am accepted by God.’ But the operating principle of the gospel is ‘I am accepted by God through what Christ has done-therefore I obey.’

Trust is accepting what God sends into your life whether you understand it or not.

This is not because they are callous or personally inhuman: it is because they live in and accept a society which is incapable of knowing what a human life is worth.