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.
ADAM MORRISI 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.
More Adam Morris Quotes
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One 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.
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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 fiction I’ve written and published is certainly inflected by the work of authors I was reading or translating at the time.
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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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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 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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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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Borges, 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.
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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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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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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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An easy example would be the Portuguese escuridão:
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