Even my editor at Melville House, who championed the project form the outset, told me she was surprised by the response. After this, editors began asking my opinion about which Latin American writers ought to be translated.
ADAM MORRISUnless you count the political backdrop, which in any case is a familiar one to many international readers
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 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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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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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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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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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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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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An easy example would be the Portuguese escuridão:
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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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Strength and power in fiction is being able to resist these intoxicating voices, recognizing that they are the signatures of other writers and not one’s own.
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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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I was confident that I could find an editor and the readership for a translation
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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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