The Lady-in-Waiting

If you are a fan of Sherlock Holmes or detective stories in general, you really don’t want to miss The Casebook of Hanshichi by Okamoto Kido, the first volume of which is now available in an original translation from Castalia House. I regretfully note that a small Japanese press has beaten us to the first complete translation of all 69 stories by about a month, but while I cannot attest to the quality of those, I think you will find that the quality of Castalia’s translations are excellent.

This is an excerpt from the seventh story from The Ghost Master, which is now available on Kindle, KU, and audiobook. Paid subscribers to Castalia Library receive a new translated ebook every week; next week’s book will be the second volume, after which we’ll start alternating with additional releases from the excellent Spanish Episodios Nacionales of Benito Perez Galdos. Both series will eventually be published in print editions; Trafalgar from the latter is already in print and available at both Amazon and NDM Express.


I returned to Tokyo at the height of August, the heat still fierce, after a summer holiday of about a fortnight. Bringing a few small gifts, I called on old Hanshichi and found him just back from the bathhouse, sitting cross-legged on a rush mat on the veranda, fanning himself in great sweeps with a round fan. A cool evening breeze was blowing through the narrow garden, and from the neighbor’s window came the chirping of crickets.

“Of all the insects, the cricket is the most truly Edo,” the old man declared. “I grant you they’re cheap, and they may well be the humblest of singing insects, but somehow they feel more like Edo than the pine cricket or the bell cricket ever could. You can be walking along any street, and when you hear a cricket singing from some window or eave, the summers of old Edo come flooding back. The insect sellers would hate me for saying so, but your pine crickets and grass larks are nothing but expensive. They’re not Edo at all. To use the modern phrase: the most plebeian, and for that very reason the most Edo, is the common cricket, and nothing else.”

The old man held forth at length on the subject, lavishing praise on a creature that nowadays is barely more than a child’s plaything, worth perhaps three sen apiece. If I was going to keep insects at all, he urged, I should keep crickets. From insects we moved on to wind chimes, and from wind chimes to the observation that tonight was the fifteenth of August by the new calendar.

“The calendars don’t match, you see, so August by the new reckoning is still as hot as this,” the old man said. “Under the old calendar, mornings and evenings would have turned properly cool by now.”

He began reminiscing about moon-viewing in the old days. In the course of this, the following story emerged, adding one more entry to my notebook.

It was the evening of August the fourteenth, in the second year of Bunkyū. Hanshichi had come home earlier than usual and was thinking of finishing his supper and stopping by a neighborhood mujin gathering, when a woman of about forty appeared at his door. She wore her hair in a small round chignon, and her face was heavy with care.

“I do apologize for the long silence, sir. I trust you’ve been keeping well.”

“Why, Okame. It’s been quite a while. Young Ochō must be turning into a fine girl by now. She’s a good, steady worker from what I hear, so her mother can rest easy.”

“It’s Ochō I’ve come about, actually, sir. I’m at my wits’ end, and I hardly know what to do.”

Looking at the lines on the woman’s forehead, Hanshichi had a fairly good idea what this was about. Okame ran a tea shop near Eitai Bridge with her daughter Ochō, who was seventeen this year. The girl was refined and beautiful, and if her one fault was a tendency to be too quiet, she had more than enough charm to draw the young men in. Okame was proud of having borne such a beautiful daughter. If she had come here troubled about the girl, even a man less shrewd than Hanshichi could guess the nature of it: dutiful Ochō had found someone who mattered to her more than her own mother. Given the trade they were in, making a fuss about it would only be boorish.

“So that’s it, is it. Young Ochō’s got herself into something and now she’s giving her mother grief. Well, I’d say you’d do better to let it pass. She’s young. If there isn’t a little fun in her life, she won’t have much heart for the work, will she? You must remember what that was like yourself. Best not to make too much of it.” Hanshichi was laughing as he spoke.

Okame did not so much as smile. She fixed him with a steady gaze.

“No, sir. It’s nothing of that sort at all. If she’d taken up with some man, some frivolous little affair, I’d do exactly as you say and let it pass. But this is something else entirely. The girl shakes, and she weeps…”

“That is odd. What exactly has happened?”

“My daughter sometimes disappears.”

Hanshichi went on laughing. A young tea-shop girl who vanished from time to time: his expression said this was scarcely worth troubling over. Seeing it, Okame pressed forward with greater urgency.

“No, it’s nothing to do with men or anything of that sort. Please hear me out, sir. It was just before the river-opening in May. A fine-looking samurai, with one attendant, happened to pass in front of my shop and caught sight of my daughter inside. He came wandering in, drank his tea, rested a while, and left a full isshū for the tea. A very generous customer indeed. About three days later, the same samurai came again, but this time he had a woman with him, thirty-five or thirty-six, very refined, with the bearing of someone in service at a great house. They didn’t seem to be husband and wife. The woman asked Ochō’s name, asked her age, and again left an isshū for the tea. Then, about three days after that, Ochō was gone.”

“I see,” said Hanshichi, nodding.

They were a type of kidnapping ring, he judged, people who disguised themselves as persons of rank to carry off a good-looking girl.

“And the girl never came back?”

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THE GHOST MASTER

Castalia House has spent the last several months quietly doing something no English publisher has bothered to do in a century: translating the great works of Japanese popular literature that built the entire modern adventure and detective fiction tradition in that country. Now they’re announcing their next project, and it is worth your attention.

The new series is the Hanshichi Casebook, written by Okamoto Kidō beginning in 1917. Hanshichi is Japan’s answer to Sherlock Holmes — a street detective working in historical Edo, solving murders, hauntings, and conspiracies in the shadow world beneath the Tokugawa shogunate. The stories ran for decades and spawned stage productions, radio adaptations, films, and television series. In Japan, Okamoto is to detective fiction what Conan Doyle is to English readers. In English, almost nobody has heard of him.

One previous academic translation covered 14 of the 69 stories. The other 55 have never been translated. Castalia House is publishing all of them across seven volumes. Volume 1, The Ghost Master, goes to paid subscribers this week and will be available on Kindle and Kindle Unlimited next week.

The first volume of the translated Casebook, The Ghost Master, has already gone out to the subscribers and is now available on Amazon via Kindle, KU, and audiobook. An excerpt from the first story is now available at the Library site if you’d like to get a taste of the flavor of Japan’s greatest detective. I’ve already translated the first twenty stories, and I have to say that they are up there with the best detective fiction I’ve ever read.

It’s really a must-read if you’re a Sherlock Holmes fan, because while the stories are every bit as detailed and interesting, the atmosphere, the plots, the crimes, and most definitely the punishments are entirely different. When the guilty party isn’t just turned over to the inept policemen of Scotland Yard, but is instead paraded through the streets prior to being crucified, the solution of the case tends to hit just a little bit differently.

The Casebook of Hanshichi Vol. I: The Ghost Master consists of the following:

Preface by Okamoto Kidō

1. The Spirit of Ofumi

2. The Stone Lantern

3. The Death of Kanpei

4. Upstairs at the Bathhouse

5. The Ghost Master

6. The Mystery of the Fire Bell

7. The Lady-in-Waiting

8. The Sash-Snatching Pond

9. Spring Thaw

10. Hiroshige and the Otter

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Cancelled by the Customers

Even though the publishers and the media gatekeepers won’t cancel the celebrity writer they propped up for decades, the reading public isn’t having it any longer:

I work as a bookseller at a large independent bookstore in New England, and I recently generated a sales report to see whether or not sales have decreased for Gaiman books. While I can’t share exact figures, I thought people here might be interested to know that his sales dropped significantly since the release of the Vulture article in late April 2025.

Initially, I just checked for all titles Gaiman’s name is on, comparing sales quantity from May 2024–April 2025 to quantity from May 2025–April 2026, and the decrease in items sold was a little over 50%. To eliminate confounds and see if this was organic customer response to Gaiman’s authorship, I then restricted the comparison to only include sales of items with all following parameters:

  • part of a section I know saw increased year-over-year sales during May 2025–April 2026
  • part of a section overseen by a book buyer who I know doesn’t order less books out of ethical compunction
  • Gaiman recorded as an author (instead of as penning an introduction, like on the 60th Anniversary Edition of Fahrenheit 451)
  • stocked continuously from May 2024–April 2026

This left me only with books from our adult fantasy and graphic novel sections (though sales were still large enough to be a decent sample). This time it was about a 45% decrease. Still very massive.

Interesting, is it not, that such a famously litigious individual has suffered such material losses and yet has not filed a defamation lawsuit against a) any of the alleged victims, b) the responsible reporters, or c) the responsible publications.

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The Gold Demon

This week’s Castalia translation is The Gold Demon by Koyo Ozaki.

A Japanese classic of love, ruthlessness, and betrayal

Kan’ichi Hazama and Miya Shigisawa have loved each other since childhood. Raised under the same roof, pledged to marry, they share a bond so deep that Kan’ichi has staked his entire future on it. Then a wealthy man with a diamond on his finger enters their world, and Miya’s parents, dazzled by the prospect of a brilliant match, break the engagement. On a winter night at the beach in Atami, Kan’ichi confronts the woman he loves and demands she choose. And she cannot answer him.

Kan’ichi, shattered by betrayal, abandons his studies and remakes himself into a ruthless man determined to worship the only god that never disappoints: money. Miya, married into luxury, discovers that wealth without love is its own kind of prison. As the years pass, guilt, longing, and the memory of what was lost draw them toward each other again, but the damage may be beyond repair. The Gold Demon is about what happens to the human soul when love is tested by fortune and found wanting.

Ozaki Kōyō (1868–1903) was the most celebrated Japanese novelist of his generation. A prodigy who founded the influential Ken’yūsha literary society while still a student, he became the star writer of the Yomiuri Shimbun and the mentor to an entire generation of younger writers, among them Izumi Kyōka. He began serializing The Gold Demon on New Year’s Day, 1897, and the novel became a national sensation, but he died at the age of thirty-five, leaving the story unfinished. It is the most celebrated unfinished work in Japanese literature. The novel has been adapted into seventeen films and has never been out of print in Japan.

This translation by Kenji Weaver is the first complete English translation of The Gold Demon.

To read an excerpt from this 129-year old work, now appearing for the first time in English, visit Castalia Library. You can also support our weekly translation efforts by subscribing to the Castalia Library substack.

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An Editorial Update

Upon further review, and after reading some of the comments from the initial readers, it became obvious that the Chekov’s Blade situation in the first Wyrmwick College book by Mr. J.M. Wayland was going to prove distracting to its readers. While I personally reject, wholeheartedly and comprehensively, the conceit of Chekov’s Gun, which states a narrative principle that every element introduced in a story must be necessary to the plot, meaning that if something is mentioned, it should have significance later on, the responsible editor must respect the preferences of the readers, even at the expense of his own literary philosophy.

And anyhow, the contemplation of this omission led to my own observation that there was a major strategic element missing from the book. So I had Mr. Wayland update his manuscript, adding a new chapter, several new sections to existing chapters, and tweaking the details in a major scene or two. Nothing has actually changed from the previous version, but the revised manuscript is now 20 pages longer, and, I think, rather better for the additions.

All of which is to say that version 003 of DORIAN VANE AND THE VAMPIRE’S BLOOD is now available on Amazon, so those of you who have been kind enough to purchase it already may wish to update your Kindle. Please do not ask me how to do it, as I do not own a Kindle and I do not know how.

Furthermore, for those who are interested in the background lore, a very small portion of has been published on the Castalia Library site, and I am contemplating the possibility of doing a Special Illustrated Edition Hardcover after the regular print editions are released in a few weeks that would not only contain chapter heading illustrations, but also an appendix dedicated to A Chronicle of the First Rising and the Binding of Mordreth the Undying.

I’ve been very pleased to see that the reviews have generally been quite favorable, even prior to the Chekov’s Blade correction.

  • Great start to what looks to be a new classic series in YA Fantasy. One of the things I like best in this book is that the main character comes from a tradition with grounded values rather than the typical trope of a lost child with zero background. Dorian is still a child, and therefore is still puzzled by both life and the actions of others; but he thinks and acts from a solid core. The characters feel real, the plot is interesting and the overall read was a lot of fun. I look forward to the next in the series.
  • What Harry Potter should have been. Characters, and their stories, we can actually relate to. Games that actually make sense and are compelling for their own sake.. Bad guys that have legitimate reasons for bad behavior. A protagonist that, in the end, can’t do the impossible. Well done. Looking forward to the next one.
  • I would recommend this book to anyone that liked harry potter. This book and hopefully series is better and better written.
  • Take all of the things that worked in the Potterverse and turn them up to 11 because this is not the author’s first story. Rewrite all the WTF moments and make them Awesome. The plot will be familiar to fans of the genre. But what makes the storing thrilling for young adults and fascinating for parents who grew up in the Potterverse, are how the changes are wrung. Dorian, Halli, and Rory are not cartoon cutouts but are portrayed as 10 year olds with strengths and weaknesses. The text is littered with “textual ruins” that hint at deep and dark alternate universe worldbuilding. Muggleblood prejudice is replaced with “Magic is not a talent… It is a discipline.” Instead of Quidditch with its the ridiculous scoring system, we have Ruck and Sanjitsu, grounded in how rugby and full body marital arts are actually played. The cover illustrates what happens when magic is added to a Warhammer 40K historical miniatures battle.

And yes, after in-depth conversations with the author, I can confirm that Wyrmwick College will be a seven-book series. It’s been interesting to see that the readers have been able to detect that although that Mr. Wayland’s work is built upon a Potteresque infrastructure, it owes considerably more to The Dark is Rising and even The Chronicles of Prydain in terms of its flesh, its soul, and its future direction.

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The Nightmare is Worse Than They Fear

In which I not only defend, but explain, the inevitability of AI-augmented literature replacing its organic form. Read the whole thing at AI Central, as it also features the excellent remix of The Long and Lonesome Skyway as well as an explanation of why it was so easy for AI to effectively replace organic illustration and music while it has been a lot harder to do the same for books.

This is, of course, a simplification. The key is understanding the concept of model collapse. Fiction is much harder for AI than either translation or non-fiction, because fiction lacks the anchor in the real that allows AI to do its thing. It can’t recognize and build off patterns when there is no pattern to recognize.

At this stage in its development, the AI novelist is essentially a soulless John Scalzi. It can write pastiches, because pastiche provides it with the anchor it requires. But it can’t work from nothing, and, in fact, the more improved the AI model, the less capable it is of usefully filling in the necessary blanks. The early Gemini tests produced much, much better results than the latest Opus 4.8 on maximum effort, because the more powerful the model, the more it insists upon doing its own thing and utilizing that weird, passive AI style that can’t stop explaining what it is describing in run-on sentences with six more clauses than they need, which it considers to be “prestige-style” writing.

Eventually, someone will build an AI specifically for fiction writing. But it will cost about 20 million to do so, which means that it probably won’t happen until Amazon decides to convert KDP into KDAI, which you can be absolutely certain is going to happen eventually because that is what will give Amazon ownership of the content it is co-creating, not just a piece of the distribution. Sure, you won’t have to give Amazon its piece, but most authors will, in order to claim the additional percentages and special algorithmic advantages provided, because there is no viable alternative.

So those who think literary AI is a nightmare now have no idea how bad it is almost certainly going to be. The devastation that Kindle Select and Kindle Unlimited has already imposed upon the publishing industry is just a warmup for Amazon’s complete control over all future literary production, publishing, and distribution.

Ironically, the only way to forestall this quasi-inevitable techno-tyrannical future is to a) create a faster and better AI competitor or b) produce books that Amazon can’t even think of producing.

Do you really think anything Castalia is doing is just an accident? Do you understand why I twice attempted to convince independent authors to help me build a genuine alternative? And do you see why supporting Castalia in one way or another may be the single most important thing you can do for the future of literature?

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Books and More Books

1300 pounds of books arrived at the warehouse today. So if you’re waiting for a book from NDM Express, it should be on the way very soon. This includes volumes 9 and 10 for the Junior Classics demi backers, leaving only the last two leather editions to complete. Which we will do, but not until after the resolution of our dispute with a certain party… Among the new books now available for purchase there include Trafalgar, Sigma Game, the second edition of Probability Zero, and Veriphysics: The Return of the Real.

In other news, JDA has a new trilogy coming out, the first volume of which is now available on Amazon.

Captain Conley of the E.A.S. Valiant is written in the mold of those classic commanding officers. A career fleet man. Competent and principled, but new to command. The Aryshan War ended months ago and now he’s leading a joint human-Aryshan crew into uncharted space. His challenge is not just what lies beyond explored territory. Half his bridge crew were the enemy a few months prior, and he has to earn the trust of people whose worlds his side bombed. That tension sits underneath every decision he makes, every order he gives. He’s not a superhero. He’s not chosen by destiny. He’s a captain trying to hold a fragile crew together while the galaxy throws things at them that nobody planned for.

Fandom Pulse also has a review of one of my favorite novels by Keigo Higashino, Journey Under the Midnight Sun.

Higashino gives us Ryōji and Yukiho only as other people see them — through detectives, classmates, coworkers, lovers, business associates, victims. Across nineteen years and five hundred pages, we never once hear either of them think. We never stand behind their eyes. We read their faces the way a stranger on a train would read them: from outside, inferring, always uncertain.

The effect is disorienting, and then it becomes frightening. In most novels, even cold ones, the reader has a home, a consciousness to rest inside, a voice that organizes the world. 白夜行 offers none. You are passed from hand to hand through people who each see a fragment: Sasagaki sees the unsolved case that will not let him sleep. A classmate sees Yukiho’s strange, perfectly maintained beauty. A colleague sees Ryōji’s quiet talent with computers. A woman sees the man who destroyed her. No one sees the whole shape. Only the reader, slowly, over years and chapters, begins to assemble the outline of what these two people are doing and what they have done to survive since that October in Osaka.

It is reading as detective work. And the thing you are detecting is terrible.

And finally, we are in the process of binding A History of the Freedom of Thought. I have the first test binding, and it is the best the Castalia bindery has produced yet, with an exquisite old-school rounded spine and the most beautiful pigskin leather you can imagine. It’s a small, slender book, but it is an absolute Pocket Venus. We are also binding a small number of books for one of JDA’s omnibuses, The Aryshan War, and he gave me permission to show the very cool endpapers which for some reason really make me want to bind a set of the Traveller Little Black Books. Pictures of both will be posted at Castalia Library when they’re finished next week.

And finally, I’d encourage those of you who enjoyed Dorian Vane to leave a review, or at least a rating there. There is an interesting discussion at Sigma Game of a comparative SSH analysis of the protagonists of the two different magic school novels.

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A Pipeline to the Stars

In which a member of our community has built a system to unlock a whole host of old Hebrew and Latin texts:

This started as an offhand question.

I was chatting with Claude about some obscure Hebrew books related to my interest in the history of astronomy and cosmology. One of them contained a firsthand account of encounters with Tycho Brahe and Johannes Kepler.

I started by asking what Claude knew about the book from reviews, catalogs, and other online references. The information was sparse. Then I thought: why not go to the source?

Knowing that Vox Day had used AI extensively for translation work, I asked Claude what it could do with a scanned PDF.

The answer seemed almost too good to be true.

So I tested it.

“Here’s a 250-page PDF. Translate it.”

That didn’t happen.

Claude explained that the PDF would need to be broken into smaller batches. I would have to upload each section separately, start a new chat for each batch, run a translation prompt, and then manually stitch everything together afterward. It even suggested shell commands to help.

That also didn’t happen.

Instead, over the next five days, I used Claude Web and Claude Code to build the functional scaffolding that eventually became my translation pipeline. As an experiment, I kept it completely code-free at first. I wanted to see how far I could get simply by describing what I wanted.

The answer turned out to be: surprisingly far.

Read the rest about how the translation pipeline was constructed and find the link to the growing compendium of ancient and medieval texts at AI Central.

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Good Company

Thanks to everyone who has given Mr. JM Wayland’s new Coming-of-Age Fantasy book, DORIAN VANE AND THE VAMPIRE’S BLOOD, a chance. It should be very interesting to see what people think as the reviews start coming in, but the fact that it’s now in the company of books by Rowling, Tolkien, Madeleine l’Engle, and even the appalling, but inexplicably popular Ursula K. Le Guin is reason for a very small degree of optimism that it and its successors will be numbered in their company for decades to come.

That’s probably not the safe way to bet, but it is off to a good start. Also, what is with those covers? Aside from The Hobbit and A Wrinkle in Time, the Dorian Vane cover looks considerably better than the other top ten books in the category. I suppose that can’t hurt.

And in an inevitable sign that the book is squarely in Gamma country, it has already received its first fake one-star rating sans review, explanation or verified purchase. Someone is very unhappy about this particular entrant to the category…

In the meantime, an excerpt:


CHAPTER ONE: Somerset House

Dorian Vane sat on his thinking stump at the bottom of the forest garden and watched a beetle climb a blade of grass. The beetle was shiny and black and appeared to know exactly where it was going, which put it considerably ahead of most people Dorian had met in his eleven years.

The stump was the remains of an ash tree that had come down in a storm the year he turned five. His grandfather had the trunk cleared and the timber stacked, because Edward Somerset did not waste timber, but he left the stump where it stood. Dorian claimed it that same summer, and it had been generally regarded as his ever since. It had been a giant stump when he was five, and it was still the right height for sitting and thinking six years later. It was at the bottom of the garden, which meant nobody came down to find him unless they had something that required saying. And it was under the biggest oaks, where the forest canopy closed overhead and turned the sunlight green and dark, which mattered to Dorian more than he usually admitted.

His dark glasses were pushed up on his head. Here under the trees, with the sunlight filtered through at least three layers of greenleaf, the brightness dropped to the level his eyes could endure without complaint. They were, in several ways, unusual eyes. They were silver-grey, pale as rain on slate, with pupils that were not round but vertically slit, like a cat’s. And in the dark, they reflected light like a fox’s. No one else in the family had eyes like his. No one Dorian had ever met or even heard of had eyes like his. People stared, or said nothing, or said something out of the side of their mouth in the apparent belief that he was deaf as well. His glasses protected him from their stares the same way they protected him from the light; they put a wall between Dorian and the world.

The garden climbed the slope behind him in three terraces his grandmother had built up over forty years. The herbs nearest the kitchen door were rosemary, sage, thyme, things she cooked with and things she used in workings, which were occasionally the same plants. Next were the vegetable rows, then the old roses on the second terrace, and then the trees running down the slope to where the ground flattened out and the moss took over. The paths were swept clean down the grey bedrock that lay a hand’s breadth under the whole country and sat several inches below the moss and loam on either side. His grandmother said the bedrock was what gave the land its character. His grandfather said that sweeping those paths had taken him the better part of ten years.

On Saturday mornings, Dorian and his grandfather would roam the garden like forest rangers, brooms in hand, making sure that the vegetation hadn’t dared to encroach upon his grandmother’s cherished paths. It seemed to Dorian that every year, the forest gave up a little more hope of ever reconquering the exposed ground.

Beyond his stump the ground dropped to a stream, and beyond the stream it rose to open pasture, and beyond the pasture were the moors. You could see them from the upstairs windows, miles of heather and gorse and granite, running all the way north until the sky got in the way. His grandfather said the moors were the finest thing about the property, which was generous praise for a landscape that was mostly rocks and rain and sheep with strongly held opinions about fences.

A thrush was singing somewhere above him. The beetle reached the top of its grass blade, paused, and appeared to reconsider the entire enterprise. Dorian watched it with the sympathy of a fellow creature who frequently climbed trees only to discover there was nothing at the top beyond the occasional empty birdsnest.

“Dor! Dor! Dorian!”

His grandmother’s voice, from the top of the garden. It wasn’t her emergency voice. This was the ordinary one, albeit with a certain note in it that meant right now.

He reached up with both hands and pulled his glasses down. The lenses were tinted dark, mirrored on the outside, and the world dimmed comfortably behind them. He stood up, brushed the moss off his trousers, and walked up the winding path that curved through the trees.

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A Visit to Wyrmwick College

This is the result of an experiment that got very badly out of hand. After finishing The Refutation of Kant, I definitely had the sense that my analytical engine could use a break and decided to let my mind coast a while. No more amphibolies, contemplations of the true nature of reality or das Ding an sich, no more irrational numbers, imaginary numbers, or infinite sets, no more deconstructing the construction account, and no attempting to decide which aspect of the Veriphysical philosophy to develop next. So the day after Team Castalia finished deciding what was to go into the combined print edition that resulted in The Return of the Real, I found myself dwelling upon all the various nonsensicalities of the Wizarding World concoted by Ms JK Rowling.

I believe that many years ago, I was among the first to point out the absolute absurdities of the Quidditch rules, though I was far from the only one. But there were so many more things that made no sense, such as the pointless points system, the insane dual economies, the bizarre competitions, and the upside-down nature of a craven, spoiled elite that left one wondering how it had gotten there in the first place. Which, in light of recent revelations, actually tends to reconstruct the Wizarding World as a much darker fictional universe than anyone had ever imagined, one in which Tom Riddle is actually the hero seeking vengeance for his childhood abuse at the hands of a schoolmaster with a very dark and nasty secret.

But that’s neither here nor there. My main thought was this: what if the protagonist of an academy novel was not despised, but loved? What if he wasn’t a passive lens for the reader to pass through the world, but a character with strength, independence, and a will of his own? What if there were consequences to historical actions, and if the present was the result of past decisions? And what if the Silent Academy wasn’t the only school to which the Inghitaran elite sent their children? One question led to another, and another, and the sum total of the answers is now available for your exploration if you happen to be so inclined.

While the core concept is obviously derived from the British magical school tradition, the end result reads more as if Susan Cooper was the primary literary influence, with perhaps a dash of Lloyd Alexander, as the various Red Team reviews have noticed.

  • This is one of the strongest Harry Potter-inspired school fantasies I’ve read. It borrows a great deal from Rowling’s structure, but it has sufficiently strong prose, characterization, and worldbuilding that it gradually stops feeling like imitation and starts feeling like a genuine series in its own right.
  • The novel clearly draws from the greats of classic children’s fantasy while forging its own path. The most obvious surface parallel is the magical boarding school with house sorting, rivalries, feasts in a great hall, and a boy discovering his powers and place in a hidden world. Wyrmwick echoes Hogwarts in structure, but the execution diverges sharply. It captures the excitement of arrival and belonging but leans harder into quiet character moments and institutional realism. The story has Susan Cooper’s feel for deep time, hidden powers in the land, and a boy awakening to a larger, dangerous heritage without flashy destiny tropes. Overall, Dorian Vane and the Vampire’s Blood is a strong, heartfelt addition to the magical-school genre—loyal to its influences while carving out a distinctive, moor-rooted identity. Fans of thoughtful fantasy with real emotional texture and British mythic flavor will find it deeply satisfying.
  • Dorian Vane and the Vampire’s Blood is an exceptionally high-quality children’s fantasy novel. It honors the rich, atmospheric traditions of classic British folklore while implementing the rigorous, satisfying world-building mechanics found in modern American fantasy. By replacing cheap whimsy with tactical depth, J.M. Wayland has crafted a story that respects the intelligence of young readers.

Dorian Vane has silver eyes and no idea why.

Raised by his grandparents on the quiet Somerset moors, Dorian has spent his whole life hiding behind a pair of mirror-shaded glasses. Then the letter from Wyrmwick College arrives, and he is pulled from his comfortable home in the countryside into an exciting world of magic and wonder.

Wyrmwick is a school like no other, ancient, magnificent, and impossible, carved into a mountainside above a lake that reflects its stone towers back into the deep waters. Here, students learn how to hold fire in their hands, to shape metal with their thoughts, and to create wards that protect the living from things that dwell in the dark and hunt in the night. At Wyrmwick, Dorian finds unexpected friends, magical challenges, a misfit house that claims him as its own, and professors who seem to know more about his heritage than he does.

But the ancient college conceals old and bloody secrets in its foundations. Even hidden behind his glasses, Dorian’s eyes mark him as something the magical world hasn’t seen in centuries, and someone at the school wants him gone. In addition to his lessons, he learns that wonder and danger stalk the same stone corridors, and that being special is not the same as being safe.

Dorian Vane and the Vampire’s Blood is the gripping first novel in a gothic magical fantasy series of courage, self-discovery, and the darkness that every new generation finds that it must face.

Now available for Kindle, KU, and audiobook.

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