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.
ADAM MORRISI was confident that I could find an editor and the readership for a translation
More Adam Morris Quotes
-
-
Once I looked into it, I was taken aback to learn that pretty much nothing by Joao Gilberto Noll was available in English translation.
ADAM MORRIS -
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.
ADAM MORRIS -
When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
ADAM MORRIS -
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.
ADAM MORRIS -
Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers
ADAM MORRIS -
And these are universal relational matters, not necessarily particular to any country.
ADAM MORRIS -
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.
ADAM MORRIS -
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 MORRIS -
Reading across three languages is a way for me to diversify my intake as a reader, not to tunnel into certain categories or demographics.
ADAM MORRIS -
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.
ADAM MORRIS -
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.
ADAM MORRIS -
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.
ADAM MORRIS -
Which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject.
ADAM MORRIS -
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.
ADAM MORRIS -
Unless you count the political backdrop, which in any case is a familiar one to many international readers
ADAM MORRIS






