It is a monstrous thing to force a child to learn Latin or Greek or mathematics on the ground that they are an indispensable gymnastic for the mental powers. It would be monstrous even if it were true.
With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected. 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. I realized I had some cultural capital to spend, and I wanted to use it to introduce another author who might be considered a risk by conventional publishers. Michael Noll was at the top of my list.
By being so long in the lowest form [at Harrow] I gained an immense advantage over the cleverer boys. . . . I got into my bones the essential structure of the ordinary British sentence - which is a noble thing. Naturally I am biased in favor of boys learning English; I would make them all learn English: and then I would let the clever ones learn Latin as an honor, and Greek as a treat.
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.
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?
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.
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.