Three Percent was named after the oft-cited statistic (first established by Bowker) that only 3% of books published in the U.S. are translations. We suspected that 3% number was a little high, but we had no way of confirming our suspicions--there were no real records of the number of translations published from year to year.
So, we decided to keep track ourselves. By collecting as many catalogs as we can and asking publishers directly, we've managed to come up with a fairly accurate record of the books published in translation since January 1st, 2008. For the sake of our sanity, we’ve limited our data gathering to original translations of fiction and poetry published or distributed here in the United States. By "original," we're referring to titles that have never before appeared in English (at least not in the States). So new translations of classic titles aren't included in our database, and neither are reprints of previously published books. Our focus is on identifying how many new books and new voices, are being made available to English-speaking readers.
If you'd like to see the list for yourself, you can download one of the spreadsheets below. In addition to a straight list of translated titles, these spreadsheets break this information down into publisher, language, country of origin, and publisher.
If you're a translator, author, librarian, publishers, or reader, and know of a title that's missing from the list, please e-mail Chad W. Post (chad.post at rochester dot edu) with the necessary information.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .