“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.”

Unless you count the political backdrop, which in any case is a familiar one to many international readers

When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.

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.

If João Gilberto Noll were writing in French or German or even Russian, it’s likely he’d be more broadly translated.

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.

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.

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.

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.

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.

Which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject.

Once I looked into it, I was taken aback to learn that pretty much nothing by Joao Gilberto Noll was available in English translation.

With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.

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.

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.

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.

And these are universal relational matters, not necessarily particular to any country.

If you resist confusion,you are always confused. We think that we resist certain states because they are there, but actually they are there because we resist them.

When you get out of the driver’s seat, you find that life can drive itself, that actually life has always been driving itself. When you get out of the driver’s seat, it can drive itself so much easier-it can flow in ways you never imagined.

I love design and actually went to school for a bit for graphic design, so it isn’t so much ‘pressure’ for me; it’s a way to be creative, and I really enjoy it.

I was like: “I’m actually doing this.” And now I feel more confident going into something.

I actually did a remix for Katy Perry, and her management didn’t respond.

I come from an environment where the men actually say, “Is it OK if I take off my jacket?” in a meeting. Everyone wears suits; it is a very dressed-up world.

I didn’t go to art school. So, I never had this moment of taking time to actually learn how to make things and learn about art history and learn about people that came before me.

Fame actually makes life, especially human relationships, much more complicated.