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.
ADAM MORRISI am not one of those translators who think that working closely with the writer will yield the best translation.
More Adam Morris Quotes
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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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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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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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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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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 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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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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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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And these are universal relational matters, not necessarily particular to any country.
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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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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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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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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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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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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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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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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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The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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An easy example would be the Portuguese escuridão:
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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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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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