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

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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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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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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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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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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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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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And these are universal relational matters, not necessarily particular to any country.
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The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
ADAM MORRIS

Creature Dreamlike Most Mystery Quiet Quite Remarkable Sequencing Thinking
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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The transcendent aspect of the psychedelic experience is totally absent.
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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 was confident that I could find an editor and the readership for a translation
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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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