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 MORRISOne 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.
More Adam Morris Quotes
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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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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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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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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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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.
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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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And these are universal relational matters, not necessarily particular to any country.
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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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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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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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