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.
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.
TEDIUM, n. Ennui, the state or condition of one that is bored. Many fanciful derivations of the word have been affirmed, but so high an authority as Father Jape says that it comes from a very obvious source --the first words of the ancient Latin hymn _Te Deum Laudamus_. In this apparently natural derivation there is something that saddens.
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.
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.
ROSTRUM, n. In Latin, the beak of a bird or the prow of a ship. In America, a place from which a candidate for office energetically expounds the wisdom, virtue and power of the rabble.