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.
ADAM MORRISThe 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.
More Adam Morris Quotes
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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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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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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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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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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 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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The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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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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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 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.
ADAM MORRIS