With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
ADAM MORRISBorges, 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.
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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And these are universal relational matters, not necessarily particular to any country.
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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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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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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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I am not one of those translators who think that working closely with the writer will yield the best 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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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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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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The Brazilian national identity is not one of João Gilberto Noll primary concerns. This does not mean social critique is absent: race, gender, and class relations are considered in Quiet Creature.
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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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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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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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