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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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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 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 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.
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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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Considered Determined Injustice Noll Rectify Translated Tremendous Widely
I am not one of those translators who think that working closely with the writer will yield the best 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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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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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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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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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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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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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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