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.
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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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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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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The transcendent aspect of the psychedelic experience is totally absent.
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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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So likewise in João Gilberto Noll, readers shouldn’t expect samba and Carnival and football. The Brazilian national identity is not one of his primary concerns.
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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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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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I am not one of those translators who think that working closely with the writer will yield the best translation.
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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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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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An easy example would be the Portuguese escuridão:
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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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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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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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I was confident that I could find an editor and the readership for a translation
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