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 MORRISJorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers
More Adam Morris Quotes
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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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Noll is highly respected in Brazil, and at the same time divisive, somewhat like Hilda Hilst. Neither of them enjoys the universal acclaim you might associate with Clarice Lispector, whom everyone adores, myself included.
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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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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 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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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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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.
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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 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.
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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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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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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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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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