As the year comes to a close, we thought we’d take a minute to look back at what we’ve done over the past twelve months. It’s also that time of year when we thank you for your continued support, and ask for your help in the year to come by participating in our Annual Campaign.
You probably already know that Three Percent and Open Letter are nonprofits housed at the University of Rochester, and, as such, our annual revenue comes from a few diverse sources, including book sales, foundational support, and governmental support (from here and abroad). Our most important source of funding, however, comes from individuals, like you, interested in furthering the appreciation of international literature.
Thanks to the support of our readers and fans, we’ve accomplished more over the past year than ever before:
• We published 10 critically-acclaimed titles from around the world, including two that made Kirkus’s Best Fiction of 2012 list;
• We were awarded our first NEA Publishing Art Works grant for an amazing $45,000, one of the largest prizes awarded to any literary organization in the U.S.;
• The Reading the World Conversation Series entered its fifth season;
• Awarded the fifth annual Best Translated Book Awards;
• Continued to expand Three Percent, celebrating literature in translation;
• Offered internships and fellowships to students from around the world interested in getting into the publishing field.
So, with our achievements higher and our momentum stronger than ever before, your continued interest has never been more vital, or more appreciated. Our goal is to foster a healthy book culture—something that wouldn’t be possible without you.
To that end, please consider supporting Three Percent and Open Letter. Your tax-deductible contribution to our Annual Campaign — online or via mail with this donation form — will ensure that this important undertaking continues to flourish, expand, and engage with more readers than ever before.
Chad W. Post
Art & Operations
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. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .