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.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .