A Return to Militarism

It was always inevitable, but now it’s real, if not yet official:

Recently, Japanese vessels and aircraft have provoked and harassed a Chinese naval formation carrying out routine training missions. The Global Times obtained an exclusive audio recording in which Japan’s Self-Defense Forces referred to itself as the “Japan Navy.” In response, the Chinese navy task group has taken firm stance and corrected Japan’s mistaken rhetoric.

“Chinese Navy task group, this is ‘Japan Navy’. We are conducting lawful activities in the international airspace in accordance with the international law. Out.” according to the audio.

In response, the Chinese side made correction: “Japanese aircraft, this is China Navy task group. Your so-called ‘Japan Navy’ has violated your constitution. You can only keep Self-Defense forces. Pay attention to your words. Over.”

However, the Japanese side refused to correct the mistake, and claimed that “China Navy task group, this is ‘Japan Navy’. We are keeping safe distance in accordance with international law and practice. Out.”

The Chinese side then responded that “Japanese aircraft, this is China Navy task group. Warning: in case of misunderstanding and miscalculation, stop your action and leave immediately. Over.”

We all know it’s “the Japanese Navy”. And it’s about time. Of course, the official change probably won’t come until just before the Japanese throw off Clown World control and switch sides to become allies with China.

Which, of course, sounds far-fetched, but it’s something that I nevertheless anticipate.

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Immigration and Economy

It’s been eleven years since Angela Merkel imported about a million young immigrants who were supposed to help the German economy and make up for the failure of Germans to have the children required to sustain the German social welfare system. And the verdict is not a positive one.

German auto giant BMW is planning to slash some 8,000 jobs globally by the end of 2027, according to several news media outlets, including Reuters and Bloomberg. German workers are expected to be particularly affected as the manufacturer is dealing with high production costs in Europe, as well as plunging sales in China, according to the reports.

The automaker employed 87,436 people in Germany as of late 2025, which accounted for more than a half of its global headcount. The company has already been making gradual reductions, with a reported decrease of 2.3% compared to 2024, according to Bloomberg.

It comes just a day after another German carmaker, Porsche, announced plans to eliminate another 5,000 jobs by 2035, bringing its total planned reduction to around 9,400 positions. Its parent company, Volkswagen, is considering slashing up to 100,000 jobs amid a protracted industrial slump caused by high energy prices. The Federation of German Industries (BDI) warned last week that the nation’s industrial sector was losing 15,000 jobs every month in what it described as a “critical” situation.

The “immigration is good for the economy” lie cannot be hammered hard enough. It was always false, but it was just barely possible to appeal to the abstract theory in the absence of any conclusive evidence refuting it. But, as with Darwin and DNA, the evidence is now available, and it conclusively and comprehensibly refutes the Post WWII-era justification.

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A Science Fiction Family

This sort of biographical article, like this one on Poul Anderson and his family, is one of my favorite sort of Fandom Pulse articles. It’s the kind of thing you quite literally can’t find anywhere else:

Poul William Anderson was born in Bristol, Pennsylvania, on November 25, 1926, to Scandinavian parents. His father died when Poul was young. His mother took the family to Denmark for a period before World War Two, then to a Minnesota farm when the war broke out. He grew up bilingual, deeply attached to Danish literature and culture, and this shows up throughout the fiction. His command of Scandinavian mythology and Old Norse poetry is one of the things that separates his fantasy work from every imitator who came after Tolkien.

He took his bachelor’s degree in physics from the University of Minnesota in 1948. He was already selling stories to Astounding by the time he graduated. His first novel, Vault of the Ages, appeared in 1952. The science background is not decorative. Anderson’s fiction is rigorously scientific in ways almost nobody else in the field managed. His hard SF is calculated. His fantasy is grounded in real historical detail. His alternate histories are worked out by a physicist.

In 1952 he met Karen Kruse. They married in 1953 in Berkeley, California, moved to the Bay Area, and stayed there. Their daughter Astrid was born in Berkeley. The Andersons lived in Orinda, in the East Bay hills, for the rest of Poul’s life. He became a Californian in a way that shaped the fiction, though he never lost the Minnesota-farm sensibility either.

His Wife Karen. Born June Millichamp Kruse in Erlanger, Kentucky, on September 16, 1932, she was already deep in SF fandom when she met Poul. She coined the term “filk music,” which is what SF fandom’s musical tradition has been called ever since. She coined the term “sophont” for a generic sentient being, a word every worldbuilder in the field has since used. She wrote the first published science fiction haiku, “Six Haiku,” in The Magazine of Fantasy & Science Fiction, July 1962. She was a founding member of the Society for Creative Anachronism, under the SCA name Karina of the Far West. She was inducted into the Baker Street Irregulars for her Sherlock Holmes scholarship.

She was also her husband’s collaborator across four decades. The King of Ys tetralogy, Roma Mater (1986), Gallicenae (1987), Dahut (1988), and The Dog and the Wolf (1988), was cowritten with Karen. She contributed anonymously to the Last Viking trilogy. The collaboration was real, not honorary. When Poul died in 2001, Karen continued as an editor and fan community figure until her own death on March 17, 2018.

Their daughter Astrid Anderson Bear married the science fiction novelist Greg Bear in 1975. Greg Bear was one of the leading hard SF writers of his generation, author of Blood Music, Eon, Darwin’s Radio, and Moving Mars. He died on November 19, 2022. Astrid remains active in the SF community and coauthored an authorized biography of her father, Starfarer, in 2024.

I personally consider Anderson to be in the second tier of the classic SF writers, but I’ve always enjoyed his stuff. I really liked his contribution to There Will Be War, for example, and he had a range that tended to exceed most of the writers of his day. He was able to blend fantasy and science fiction in a manner very different than urban fantasy or magical realism, and yet it always worked somehow.

Anyhow, if you’ve never read any Poul Anderson, I’d highly recommend that you do so. His son-in-law, Greg Bear, is a little more of a conventional SF writer and his work is a little more of an acquired taste. But it, too, is at the very least worth trying if you’re looking for a new author to read.

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Success is Fake

Believe it or not, this is one of Britain’s biggest media stars of the last decade:

Holly Willoughby’s new YouTube show brought in 41,000 views on its first day – after it was panned by critics and branded ‘dire’.

The former This Morning host, 45, launched her first episode of the show on Tuesday, with desperate attempts at relatability thanks to swearing and unsubtle innuendos with first guest, The Devil Wears Prada star Stanley Tucci, 65.

It failed to impress critics – with a one-star review comparing her show to Meghan Markle’s attempt to enter the lifestyle realm with her own show last year.

Last March, Meghan launched a Netflix lifestyle series, which was blasted, leading to The Guardian branding Holly’s show ‘a marginally less agonising With Love, Meghan’ while The Telegraph stated: ‘[Holly’s] dire show makes Meghan look good.’

And 24 hours after it was posted to her YouTube channel, it had received 41,000 views.

She now has 11,000 subscribers to the channel.

Everything in the media is propped up and fake. It’s easy to tell, because every single time “a big star” attempts to do something without the benefit of the mainstream machinery, they can’t even reach a level of modest success on their own. To put it in perspective, 41,000 views is less than this blog and Sigma Game combined.

No wonder they all have Imposter Syndrome.

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Why Castalia Library Matters

We can’t save all the books. But we can save some of them.

The driving force behind this destruction is what researchers call “model collapse.” When AI systems train on text generated by other AI systems, quality degrades with each generation, producing increasingly incoherent results. The internet has become so saturated with synthetic content that companies now actively seek pre-2022 printed books as the last uncontaminated reservoir of human-authored knowledge.

ISBNdb, a company that sources printed books for AI training data, advertises on its website that “the world’s best AI training data is sitting on a shelf.” The company describes printed books as “curated, peer-reviewed, domain-specific human knowledge, structured in a way no web crawl can replicate.” Pre-2022 publications are “structurally guaranteed to be free of this contamination,” the company states, referencing both AI-generated text and the growing practice of authors “poisoning” web content to sabotage scraping pipelines.

The industrial process of destruction

The mechanics of this operation are precise and troubling. Standard pallets of books hold 800 to 1,200 volumes. Buyers scale from pilot orders to 10,000 or more books per batch. Destructive scanners process 80 to 120 pages per minute after hydraulic cutting machines slice off book spines. The original books are then pulped and recycled.

According to court documents from the Anthropic case, the company’s “Project Panama” spent tens of millions of dollars on this exact pipeline, contracting with Datamation for scanning services. Booksellers have identified these bulk buyers through telltale signs: abnormal volume, subject-agnostic orders spanning history, botany, regional law, and German economics simultaneously, and total indifference to pricing. As one bookseller told 404 Media, “It’s not just the quantity, but the weirdness of the orders.”

Anthropic’s Tom Harvey, who previously helped create Google Books, oversaw the operation. One bookseller who has sold hundreds of books to suspected AI buyers expressed mixed feelings: “It benefits me financially… On the other hand, I don’t like the end-use, and I don’t like that uncommon books are being pulped.”

The vanishing heritage

The most troubling aspect of this practice is what it means for rare and out-of-print books. Foreign-language volumes, low-circulation academic works, and antique texts with limited surviving copies face potential extinction. When an AI company purchases the last known physical copy of a rare book, scans it, and destroys the original, that volume ceases to exist in the physical world. It becomes data locked inside corporate servers — inaccessible to future scholars, collectors, or the public.

ISBNdb acknowledges the “optics problem” on its website, noting that “‘AI company destroys two million books’ is not a headline that generates sympathy.” The company promises strict nondisclosure agreements on every engagement, stating that “your identity, strategy, and acquisition targets are never disclosed.” This secrecy means booksellers can only speculate about who is buying their inventory and for what purpose.

A legal framework that encourages destruction

Judge Alsup’s ruling explicitly validated the buy-scan-destroy pipeline, writing that “every purchased print copy was copied in order to save storage space and to enable searchability as a digital copy. The print original was destroyed. One replaced the other.” Because the digital copy was never shown, shared, or sold outside the company, the judge found this “clearly transformative” and therefore protected by fair use.

This reasoning effectively creates a legal incentive for destruction. If a company keeps the physical book, it must store it. By destroying the original, the company can argue it “replaced” the physical copy with a digital one. The ruling handed the entire AI industry a template, and companies now explicitly cite it.

Harvard University, partnering with Google and Microsoft, demonstrated that an alternative exists. The collaboration released nearly one million public-domain digitized books in 254 languages — no destruction required. Microsoft’s Burton Davis called starting with public-domain data “prudent,” noting that libraries hold “significant amounts of interesting cultural, historical and language data.” That alternative track makes clear that labs have cleaner options. They simply choose not to take them.

We’re going to come up with a program to save and bind some of these rare books. They don’t have to be destroyed. What I’m thinking of is an “adopt a book” program that will permit people to fund the rebinding of a rare book in leather, after which they will receive that book or be recognized as the sponsor of that book in Castalia’s library. If we can just convince the AI companies to send us the pages instead of pulping them, this should be something doable.

In the meantime, you can help us create books that are going to outlive the AI companies engaging in this destruction.

And be sure to take notice of how this is being caused as a downstream consequence of copyright law…

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Red on Red

The recent translator of The Odyssey takes the director of The Odyssey to task despite his claiming, apparently falsely, to have based his revisionist, anti-Homeric film on her revisionist post-Homeric translation.

Christopher Nolan built his entire Odyssey around Emily Wilson’s 2017 translation, crediting her famous opening line, “Tell me about a complicated man,” as one of his biggest points of inspiration going into the project. Wilson has now seen the finished film. Her review, a 4,000-word essay published this week in the London Review of Books under the title “An Uncomplicated Man,” is one of the harshest takedowns Nolan has received in his entire career, and it comes from the one scholar whose own work he explicitly built this movie on top of.

Wilson opens with something close to a compliment before the knife goes in. “I was humbled to learn that Nolan has read at least the first line of my translation,” she writes. “But I would be ashamed to have written any part of this script.” That single sentence has already become the pull quote defining coverage of the piece, and it earns that status. It’s not a critic taking a shot from a distance. It’s the translator whose language Nolan quoted in press interviews telling him, in print, that she wants no association with what he built from it.

She spends the next several thousand words explaining exactly why. Wilson describes the overall experience of watching the film as “family-friendly audiovisual spectacle, like an elaborate Fourth of July fireworks display, and with about the same level of narrative and emotional depth.” She connects it to a pattern she sees across Nolan’s career: “As in his previous films, Nolan is interested in the discontinuities of space and time, in magic, tricks, craft, technology, rivalry, substitution, masks, miscommunication, what we remember and what we choose to forget.” That’s not dismissive on its face, but the verdict that follows is blunt: “It lacks psychological, emotional, political and ethical depth. Its narrative structure is gimmicky. The writing is abysmal. None of the characters has convincing motivation for their actions or words. There are no sex scenes, and all the food looks horrible.”

She’s absolutely not wrong. And yet, as one of the most prolific translators of 2026, I don’t have to read Ms Wilson’s translation to have a pretty good idea about the nature of its flaws from that one single line alone. Translators have to make a lot of choices, and most translators tend to make what I believe to be distinctly suboptimal ones. Ironically, the current taste for revisionism to suit current preferences is very much in keeping with the translations of the late 19th century; the very accomplished and highly prolific Clara Bell, who translated Balzac, Casanova, Huysmans, Ibsen, and Maupassant, as well as by Louis Couperus, Georg Ebers, Benito Pérez Galdós, Ernst Haeckel, Pierre Loti, and Helmuth von Moltke, among others, became notorious in translation circles for making all of their books sound as if they were written by a late 19th Century Englishwoman.

In the 1950s, the academic craze for accuracy and literalism resulted in nearly all of the post-Waley translations being dry renditions that leave the English reader wondering how the foreign language novel ever became popular in the first place. The 1980s hit a high point with William Weaver’s translations of Umberto Eco’s novels, but since then, we’ve generally reverted to the older, more revisionist Bell-style standard.

My preference is to focus first on readability for the modern reader followed by non-literal accuracy. Which may explain why blind comparisons have regularly indicated that Castalia’s translations are preferred to the existing ones.

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3X and 3 Weeks to Go

The Byron AI crowdfund is proceeding well. We’re very close to 100 backers, the campaign has exceeded $30k, and the team is already seeing some positive results that indicate we’re on the right track. Moreover, the importance of what we’re doing, and the need for it, has been highlighted by a recent news item related to the actions of the AI giants:

OpenAI’s ChatGPT is now refusing requests to generate text that directly mimics the style of famous authors. When asked to do so, the popular LLM instead offers a response that draws on the “broad qualities” of those authors “while remaining distinct in its own voice,” for example.

This is just a PR move, which is obvious because a) there is no patent, trademark, or copyright protection for “style” or “look and feel” and b) the refusals apply to long-dead authors such as Charles Dickens and Ernest Hemingway. Remember, there isn’t even any legal protection for book titles, and you can literally reproduce the text of a public domain work exactly as it is or fold, spindle, and mutilate it as you please, as the cases of Pride and Prejudice and Zombies or A Mind Programmed serve to demonstrate.

However, we can safely expect Claude and Gemini to follow suit. The AI backlash has already begun and Open AI is already looking for a government bailout, and so we can safely assume that the intrinsic degradation of texual AI’s pseudo-creative facilities will be turbo-boosted by these new stylistic guardrails.

Now here is the pitch for those of you who haven’t backed the project yet. Due to its importance, a major backer has offered to double the end total of the campaign. Which means that if you back for $50, the project will receive $100. So any support you can provide Byron AI will be twice as effective.

Our objective is to reach 250 backers; given that 100 people backed the project in the first week without this additional incentive, I’m optimistic that we can reach that total and that we are going to exceed our development objectives. Also, I should note that two of the three Custom Novels have already been spoken for, although I have not yet been informed as to what the backers wish them to be.

BACK THE BYRON AI

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Che Cavalo!

In further confirmation that Italy remains Italian.

  • Paolo Maldini and Leonardo have resigned from their FIGC positions following disagreements regarding the selection of Italy’s new head coach
  • The duo’s tenure lasted just 16 days, having been officially appointed on July 11

I’m not going to lie. I was genuinely excited about the possibility of Maldini and Guardiola joining forces to return gli Azzurri to international prominence.

Efforts to name the next head coach encountered difficulties when Carlo Ancelotti and Pep Guardiola, both leading candidates, declined the opportunity. Andrea Pirlo emerged as a subsequent option; however, his candidacy was swiftly dismissed due to his role as a global brand ambassador for Russian betting company Fonbet. This connection posed both moral concerns and legal complications, since advertising gambling is outlawed in Italy. Reports indicate that Giovanni Malagò intervened to veto Pirlo’s appointment, despite opposition from Maldini and Leonardo. The ongoing disagreements on coach selection reportedly intensified strain within the leadership group.

(makes Italianate hand gestures)

Meanwhile, in France…

Zinedine Zidane Announced As France Men’s National Team Manager

This juxtaposition suffices to explain a disturbing amount of European history.

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Those Who Gnaw

From the recently translated and published GERONA by Benito Pérez Galdós.

Political passion, my friends! I know no baser or more contemptible sentiment than this, which drives men to hate their own countrymen with greater fury than the foreign invader. I was appalled to witness the outrages committed against some and the savage invasion of the houses of others. And we may be thankful they escaped with their lives from the hands of that idle, shrieking mob! In a word, the whole affair was among the most degrading things I have seen in my life, and if the Junta Central was worth little, the men who in Seville and afterward in Cádiz gnawed, like restless and parasitic reptiles, at its foundations, do not occupy, for all their bustling and all the various postures they assumed, any visible place in history.

Their smallness makes them vanish in the long perspectives of the past, and their echoless names awaken neither admiration nor rancour. They belong to that common herd which, common as it is, has shaped the destinies of the country from the first revolution to the present day: people without an ideal, who would be lost in the crowd like raindrops in the ocean, if the deplorable political neutrality of those Spaniards who are honest, decent, informed, and patriotic, and who are the majority, did not allow them to act in public life, treating the country as an object of exclusive property given them for their amusement.

The end of empire is always marked by national enervation. We tend to blame television, or video games, or social media, but the truth is that this torpor that permits those Galdós describes as restless and parasitic reptiles to gnaw at the societal foundations as they rule over the placid NPCs has always been a phenomenon of late-stage empire.

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TRANSLATION: Gerona

GERONA by Benito Pérez Galdós is this week’s new translation. It is the seventh of the first series of the Episodios Nacionales and was translated from the original Spanish by Vox Day. The ebooks have already gone out to the subscribers. It’s now available on Amazon for Kindle, KU, and audiobook.

A DESPERATE AND GLORIOUS DEFIANCE

In May of 1809 the French army arrived before Gerona: a Catalan city of narrow streets and stacked houses, held by a garrison far too small to hold it, under a governor who did not regard that as a reason to give it up. Seven months later, after eleven thousand nine hundred bombs were exploded, eighty thousand rounds were shot, and twenty thousand men lost in the assaults, the French were still outside the walls.

Andrés Marijuán was inside. An Aragonese private billeted with a locksmith’s family, he watched the city eat its horses, then its cats, then its rats, and at last nothing whatever. He watched the children of the house go out hunting through the rubble for anything with meat on it. He watched a physician, unhinged by grief, forge newspapers full of relief columns that were never coming, so that his daughter should not learn what had become of the world. And he watched Mariano Álvarez de Castro, dying on his feet, return the same answer to every summons to surrender that the greatest generals of the age sent him.

The way Galdós describes the siege of Gerona is the bleakest book in the first series of the Episodios Nacionales, and the most unsparing: an account of civilian endurance carried well past the point where endurance means anything, told by a survivor who cannot understand how he survived.

About the author. Benito Pérez Galdós (1843–1920) is widely regarded as the greatest Spanish novelist since Cervantes. Over four decades, he produced the Episodios Nacionales, one of the most incredible accomplishments of world literature ever written. He was nominated for the Nobel Prize in Literature five times.

There is an excerpt available to read on Castalia Library. Tune in to the Darkstream tonight to learn more about this, see the new Byronics video, and hear some exciting news about the Byron AI project.

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