English can be tricky because there are so many false cognates, but sometimes, as long the idea conveyed is not wrong, these false cognates can themselves offer synonyms or lead to a better alternative word or phrase in translation.
ADAM MORRISWhen I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
More Adam Morris Quotes
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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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I was confident that I could find an editor and the readership for a translation
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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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Reading across three languages is a way for me to diversify my intake as a reader, not to tunnel into certain categories or demographics.
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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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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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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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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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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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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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And these are universal relational matters, not necessarily particular to any country.
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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 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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