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.
When it comes to the common rights and needs of men and women, there is no clash of civilizations. The requirements of freedom apply fully to Africa and Latin America and the entire Islamic world. The peoples of the Islamic nations want and deserve the same freedoms and opportunities as people in every nation. And their governments should listen to their hopes.
The term power comes from the Latin posse- to do, to be able, to change, to influence or effect. To have power is to possess the capacity to control or direct change. All forms of leadership must make use of power. The central issue of power in leadership is not Will it be used? But rather Will it be used wisely and well?
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.
FORMA PAUPERIS. [Latin] In the character of a poor person - a method by which a litigant without money for lawyers is considerately permitted to lose his case.
J, n. A consonant in English, but some nations use it as a vowel . . . from a Latin verb, "jacere", "to throw," because when a stone is thrown at a dog the dog's tail assumes that shape.
In Hindu philosophy the whole creation is regarded as the Vishnu Lila, the play of Vishnu. Lila means dance or play. Also in Hindu philosophy, they call the world illusion; and in Latin the root of the word illusion is ludere, to play.
Demon mean knowledge in Greek, especially about the material world. Science means knowledge in Latin. A jurisdictional dispute is exposed, even if we look no further
Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury. 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. 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.