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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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Context Critic Helpful Novel Political Prerequisite True Understanding
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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Aback Available Determined Injustice Looked Nothing Pretty Taken
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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Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury.
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Alleged Authenticity Lamenting Latin Measure Tradition Variety
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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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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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 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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Author Certainly Fiction Inflected Intense Published Reading Reading. Time Translate Work
I was confident that I could find an editor and the readership for a translation
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Confident Editor Readership Translation
One that actually relates to all Latin American literature: that is, not every author is interested in being a representative of his or her national culture on the global stage.
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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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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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Adore Claim Country Divisive Enjoy Injustice Somewhat Time Tremendous Universal
And these are universal relational matters, not necessarily particular to any country.
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An easy example would be the Portuguese escuridão:
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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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