I am not one of those translators who think that working closely with the writer will yield the best translation.
ADAM MORRISEven 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.
More Adam Morris Quotes
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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.
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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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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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And these are universal relational matters, not necessarily particular to any country.
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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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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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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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An easy example would be the Portuguese escuridão:
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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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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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The main reason I decided to study Latin American literature was because I’d gotten somewhat bored by the American fiction I was reading. I am not drawn to a specific style or aesthetic.
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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.
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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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Once I looked into it, I was taken aback to learn that pretty much nothing by Joao Gilberto Noll was available in English translation.
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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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