Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers
ADAM MORRISI 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.
More Adam Morris Quotes
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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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I primarily write nonfiction. Research, reflection, and spending time with ideas are important to me. So, this is how I spend most of my time writing – in thought.
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And these are universal relational matters, not necessarily particular to any country.
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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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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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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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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 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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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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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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An easy example would be the Portuguese escuridão:
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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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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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.
ADAM MORRIS