Three Percent launched in the summer of 2007 with the lofty goal of becoming a destination for readers, editors, and translators interested in finding out about modern and contemporary international literature.
The motivating force behind the website is the view that reading literature from other countries is vital to maintaining a vibrant book culture and to increasing the exchange of ideas among cultures. In this age of globalization, one of the best ways to preserve the uniqueness of cultures is through the translation and appreciation of international literary works. To remain among the world’s best educated readers, English speakers must have access to the world’s great literatures. It is a historical truism and will always remain the case that some of the best books ever written were written in a language other than English.
Unfortunately, only about 3% of all books published in the United States are works in translation. That is why we have chosen the name Three Percent for this site. And that 3% figure includes all books in translation—in terms of literary fiction and poetry, the number is actually closer to 0.7%. While that figure obviously represents more books than any one person could read in a year, it’s hardly an impressive number.
An even greater shame is that only a fraction of the titles that do make their way into English are covered by the mainstream media. So despite the quality of these books, most translations go virtually unnoticed and never find their audience.
The idealistic hope of Three Percent is to help change that—at least a little bit. By bringing readers information about goings-on in the world of international literature, and by providing reviews and samples of books in translation and those that have yet to be translated, we hope to serve as a resource for readers, students, translators, and editors interested in international literature.
Part of the University of Rochester's translation program and Open Letter, the university’s translation press, Three Percent is a place for students to present their translations and reviews, as well as a place to cultivate the next generation of literary enthusiasts.
The historian John Lukacs observed, “Fictitious characters may represent characteristic tendencies and potentialities that existed in the past” and thus “may serve the historian under certain circumstances—when, for example, these are prototypical representations of certain contemporary realities.” Eugen Ruge’s In. . .
Gustavo Faverón Patriau’s The Antiquarian, translated by Joseph Mulligan, is a genre-blending novel, a complete immersion that delves into a lesser-used niche of genre: horror, gothic, the weird. There are visual horrors, psychological ones, and dark corners with threats lurking.. . .
What a wonderful, idiosyncratic book Weinberger has written. I say book, but the closest comparison I could make to other works being published right now are from Sylph Edition’s “Cahiers Series“—short pamphlet-like meditations by notable writers such as Ann Carson,. . .
Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released. . .
When Sankya was published in Russia in 2006, it became a sensation. It won the Yasnaya Polyana Award (bestowed by direct descendants of Leo Tolstoy) and was shortlisted for the Russian Booker and the National Bestseller Award. Every member of. . .
Stalin is Dead by Rachel Shihor has been repeatedly described as kafkaesque, which strikes a chord in many individuals, causing them to run to the bookstore in the middle of the night to be consumed by surreal situations that no. . .
Paradises by cult Argentinian author Iosi Havilio is the continuation of his earlier novel, Open Door, and tells the story of our narrator, a young, unnamed Argentinian woman.
The very first sentence in Paradises echoes the opening of Camus’s The Outsider. . .