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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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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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Adore Claim Country Divisive Enjoy Injustice Somewhat Time Tremendous Universal
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 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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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Best Closely Think Thinking Translation Translator Working Writer Yield
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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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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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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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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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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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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.
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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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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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And these are universal relational matters, not necessarily particular to any country.
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