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 prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
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. . .