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.
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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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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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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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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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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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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I have a few minor rules for myself but I break them all the time. For example, when translating from Romance languages to English, there is often a choice between a Latinate cognate and a Germanic equivalent.
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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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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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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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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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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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If João Gilberto Noll were writing in French or German or even Russian, it’s likely he’d be more broadly translated.
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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 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.
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