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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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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 authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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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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Accept Psychedelic Quiet Realist Straightforward Surprise Way Word
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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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 was confident that I could find an editor and the readership for a translation
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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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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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Unless you count the political backdrop, which in any case is a familiar one to many international readers
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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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The transcendent aspect of the psychedelic experience is totally absent.
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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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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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So likewise in João Gilberto Noll, readers shouldn’t expect samba and Carnival and football. The Brazilian national identity is not one of his primary concerns.
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