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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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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And these are universal relational matters, not necessarily particular to any country.
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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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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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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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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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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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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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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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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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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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Reading across three languages is a way for me to diversify my intake as a reader, not to tunnel into certain categories or demographics.
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