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.
ADAM MORRISI 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.
More Adam Morris Quotes
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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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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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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 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 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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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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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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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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Which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject.
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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 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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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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And these are universal relational matters, not necessarily particular to any country.
ADAM MORRIS