I am not one of those translators who think that working closely with the writer will yield the best translation.
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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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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The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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 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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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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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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 was confident that I could find an editor and the readership for a translation
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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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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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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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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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