A Quote by Adam Morris

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. And these are universal relational matters, not necessarily particular to any country. 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.
Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers, which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject. 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.
Dreamlike sequencing is perhaps one of João Gilberto Noll's most remarkable triumphs in Quiet Creature on the Corner. 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.
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. The transcendent aspect of the psychedelic experience is totally absent.
Unless you count the political backdrop, which in any case is a familiar one to many international readers, 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.
This neglect of a very important Brazilian writer is, in my view, the result of Brazil's relative isolation from what metropolitan tastemakers. If João Gilberto Noll were writing in French or German or even Russian, it's likely he'd be more broadly translated.
Once I looked into it, I was taken aback to learn that pretty much nothing by João Gilberto Noll was available in English translation. I was confident that I could find an editor and the readership for a translation: 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. Still, I considered it a tremendous injustice that Noll had not been more widely translated and was determined to rectify it.
My mum is Brazilian and very proud. I'd love to do a Brazilian film. I've been brought up in the Brazilian culture. My mum brought me up on my own, I cook Brazilian food, I've never spoken a word of English to my mother.
There are such beings in the world -- perhaps one in a thousand -- as the creature you and I should think perfection; where grace and spirit are united to worth, where the manners are equal to the heart and understanding; but such a person may not come in your way, or, if he does, he may not be the eldest son of a man of fortune, the near relation of your particular friend, and belonging to your own county.
My feeling is that my body and all my things inside me - when I move, when I do everything - are Brazilian because my family is Brazilian, and my mother language is Brazilian Portuguese. But all the thinking in my life, all the treatment with people, I think I'm more from Spain. That's how I grew up.
My family is Brazilian and I feel Brazilian, even though I have never lived there. I was born and raised in Belgium so I also feel Belgian. I feel the blood of a Brazilian, but I understand both ways.
I am a writer who has written about the life of my people, the character of my people. What I can say is that the greatest hero of the Brazilian novel is the Brazilian people.
Intersectionality has made an important contribution to social and political analysis, asking all of us to think about what assumptions of race and class we make when we speak about "women" or what assumptions of gender and race we make when we speak about "class." It allows us to unpack those categories and see the various kinds of social formations and power relations that constitute those categories.
Just competing in the Brazilian GP is a dream for all Brazilian racing drivers. I remember sitting in the grandstands when I was a kid, watching Ayrton Senna, Nelson Piquet and even Rubens Barrichello. After that, to race there in Formula One is a feeling that is hard to explain.
Paraphrased: Among the degrees of the universal Manifestation, each sentient creature typically experiences an illusory sense of autonomy. At the same time, with or without the creature's awareness, the creature subsists eternally as an "immutable prototype" in the divine Knowledge.
True peace must be anchored in justice and an unwavering commitment to universal rights for all humans, regardless of ethnicity, religion, gender, national origin or any other identity attribute.
There is no "era" of simple, focused, concept-driven identity design. There is only design that grows out of understanding audiences for specific problems, and that evolves from an idea. This is an approach that does not depend on any specific time period or its technology.
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