And these are universal relational matters, not necessarily particular to any country.
ADAM MORRISSo 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.
More Adam Morris Quotes
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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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The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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 transcendent aspect of the psychedelic experience is totally absent.
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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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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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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 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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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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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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An easy example would be the Portuguese escuridão:
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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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