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.
ADAM MORRISOne 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.
More Adam Morris Quotes
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This neglect of a very important Brazilian writer is, in my view, the result of Brazil’s relative isolation from what metropolitan tastemakers.
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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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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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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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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 authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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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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And these are universal relational matters, not necessarily particular to any country.
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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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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.
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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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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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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