Still, I considered it a tremendous injustice that Noll had not been more widely translated and was determined to rectify it.
ADAM MORRISI only translate authors whose work already interests me as a reader, and that’s a decision I make based on multiple encounters with an author’s work.
More Adam Morris Quotes
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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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And these are universal relational matters, not necessarily particular to any country.
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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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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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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 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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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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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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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 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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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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When I think about literature, I think about it in the three languages I read easily – English, Spanish, and Portuguese.
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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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