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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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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

The authors I prefer are all very different and are not limited to certain genres or even certain time periods.
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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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Anything Audience Cosmopolitan Essentially Noll Regard Think Translate Work
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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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.
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The transcendent aspect of the psychedelic experience is totally absent.
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I was confident that I could find an editor and the readership for a translation
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Confident Editor Readership Translation
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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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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With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected.
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Expected Exposure Far House Latin Reached Reader Risk
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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Dreamlike sequencing is perhaps one of João Gilberto Noll’s most remarkable triumphs in Quiet Creature on the Corner.
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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.
ADAM MORRIS

Fiction Intoxicating Own Power Progress Recognizing Resist Signature Strength Voice Writer
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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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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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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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