A Quote by Adam Morris

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.
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.
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.
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.
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.
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.
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.
Joao Gilberto on guitar could read a newspaper and sound good.
I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.
I was born into a Turkish family that had acquired Italian citizenship. Many members of the family subsequently became British, French, Brazilian, and German, so there was a bit of everything. It was not uncommon for people in the family to speak seven languages: English, French, Ladino, Italian, Turkish, Arabic, and even Greek.
You see, in my view a writer is a writer not because she writes well and easily, because she has amazing talent, because everything she does is golden. In my view a writer is a writer because even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway.
Solitude is very important in my work as a mode of inspiration, but isolation is not good in this respect. I am not writing poetry about isolation.
Few [books] get translated and the ones that do have trouble making it into the mainstream. It's more likely that Americans will discover another culture through an American writer rather read a writer from that culture.
There is no question about the fact that we had very serious disagreements with my German, French, and Russian colleagues over the Iraq war. But I never stopped talking.
It's insane to be a writer and not be a reader. When I'm writing I'm more likely to be reading four or five books at once, just in bits and pieces rather than subjecting myself to a really brilliant book and thinking, "Well what's the point of me writing anything?" I'm more likely to read a book through when I take a break from writing.
It has since been agreed that speeches given in English will be translated into French and vice versa, and even into German and Italian when necessary. No doubt translations into Esperanto will also soon be in demand.
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