And these are universal relational matters, not necessarily particular to any country.
ADAM MORRISThe fiction I’ve written and published is certainly inflected by the work of authors I was reading or translating at the time.
More Adam Morris Quotes
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An easy example would be the Portuguese escuridão:
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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 am not one of those translators who think that working closely with the writer will yield the best translation.
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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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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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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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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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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 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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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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