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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.

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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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Concerned Country Fundamental Literary National Tango Tradition Trope
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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Author Certainly Fiction Inflected Intense Published Reading Reading. Time Translate Work
The transcendent aspect of the psychedelic experience is totally absent.
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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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Context Critic Helpful Novel Political Prerequisite True Understanding
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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I translated the novel and still it remains a mystery as to how exactly how this works. Noll thinks more like an experimental filmmaker than a novelist.
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I was confident that I could find an editor and the readership for a translation
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Confident Editor Readership Translation
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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Carnival Concern Football Identify Likewise National Noll Primary Reader Samba
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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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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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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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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Fiction Intoxicating Own Power Progress Recognizing Resist Signature Strength Voice Writer
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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Authority Complain Football Latin Myopic People Soapbox Understanding Unique Writer
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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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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Important Nonfiction Primarily Reflection Research Spending Writing
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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