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 MORRISJorge 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.
More Adam Morris Quotes
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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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An easy example would be the Portuguese escuridão:
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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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I primarily write nonfiction. Research, reflection, and spending time with ideas are important to me. So, this is how I spend most of my time writing – in thought.
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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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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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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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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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I was confident that I could find an editor and the readership for a translation
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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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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