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.
It is wonderful how soon a piano gets into a log-hut on the frontier. You would think they found it under a pine-stump. With it comes a Latin grammar, and one of those tow-head boys has written a hymn on Sunday. Now let colleges, now let senates take heed! for here is one who, opening these fine tastes on the basis of the pioneer's iron constitution, will gather all their laurels in his strong hands.
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.
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.
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.