Heroes of History

Castalia Library is happy to report the successful test-stamping of JUNIOR CLASSICS VOL. 7, HEROES OF HISTORY at the bindery. There are more details available at the Castalia Library substack.

Also, as a result of the reader poll, it has been decided that it will be STUDIES ON THE NAPOLEONIC WARS by Sir Charles Oman that will be serialized on the substack. The serialization will begin tomorrow.

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Castalia Library Stacks

We’re pleased to report a few new developments that will be of interest to Library and History subscribers. First, the test stamping of Castalia History Book 2 was successful and you can see the results at the new Castalia Library substack. These are promising to be our most aesthetically successful books yet. While we are still utilizing the mailing list and the LibraryThing group, too many subscribers have somehow been falling through the cracks, so we’ve created this new substack that everyone who is interested can follow either through the site or the emails.

Second, since there won’t be daily updates, at least not until we’re doing a LOT more books, we are going to be serializing one of our Library books there. There isn’t much point in doing Dracula, since there is already an extremely popular substack dedicated to serializing that, so we’re giving you the choice of one of four current or coming Library/History books. There is a poll there running for the next two days, so feel free to make your voice heard.

  • DISCOURSES ON LIVY by Niccolo Machiavelli
  • STUDIES ON THE NAPOLEONIC WARS by Sir Charles Oman
  • PRIDE AND PREJUDICE by Jane Austen
  • WAR AND PEACE by Leo Tolstoy

And third, speaking of serialization, we’ve set up a substack dedicated to the Junior Classics. This may or may not be of any interest to those who already have them, in leather, hardcover, or ebook, but we think it is a good way of helping bring them to the attention of homeschool parents and others who have never heard of the Junior Classics.

If you’re wondering why we’re utilizing Substack now, the fact that the Sigma Game substack already has 137k views in little more than two weeks should suffice to explain it. I expect it to surpass this blog in terms of traffic by the time the book comes out.

We’re also working hard on getting production caught up, and the leathers for both volumes of War and Peace as well as four other books are being ordered now that we have the final size of the interiors. On the bindery front, both hubbing tools have been made and the first one will be tested as soon as the coming week. That’s the last major challenge we face before Team Europe can start tackling The Iliad and The Odyssey.

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The Russian Art of War

A new book by a French colonel explains the difference between Western and Russian military thought, and how the superiority of the latter is why the former loses its wars:

Throughout the Cold War period, the Soviet Union saw itself as the spearhead of a historical struggle that would lead to a confrontation between the “capitalist” system and “progressive forces.” This perception of a permanent and inescapable war led the Soviets to study war in a quasi-scientific way, and to structure this thinking into an architecture of military thought that has no equal in the Western world.

The problem with the vast majority of our so-called military experts is their inability to understand the Russian approach to war. It is the result of an approach we have already seen in waves of terrorist attacks—the adversary is so stupidly demonized that we refrain from understanding his way of thinking. As a result, we are unable to develop strategies, articulate our forces, or even equip them for the realities of war. The corollary of this approach is that our frustrations are translated by unscrupulous media into a narrative that feeds hatred and increases our vulnerability. We are thus unable to find rational, effective solutions to the problem.

The way Russians understand conflict is holistic. In other words, they see the processes that develop and lead to the situation at any given moment. This explains why Vladimir Putin’s speeches invariably include a return to history. In the West, we tend to focus on X moment and try to see how it might evolve. We want an immediate response to the situation we see today. The idea that “from the understanding of how the crisis arose comes the way to resolve it” is totally foreign to the West. In September 2023, an English-speaking journalist even pulled out the “duck test” for me: “if it looks like a duck, swims like a duck and quacks like a duck, it’s probably a duck.” In other words, all the West needs to assess a situation is an image that fits their prejudices. Reality is much more subtle than the duck model….

The reason the Russians are better than the West in Ukraine is that they see the conflict as a process; whereas we see it as a series of separate actions. The Russians see events as a film. We see them as photographs. They see the forest, while we focus on the trees. That is why we place the start of the conflict on February 24, 2022, or the start of the Palestinian conflict on October 7, 2023. We ignore the contexts that bother us and wage conflicts we do not understand. That is why we lose our wars…


In Russia, unsurprisingly, the principles of the military art of the Soviet forces inspired those currently in use:

  • readiness to carry out assigned missions;
  • concentration of efforts on solving a specific mission;
  • surprise (unconventionality) of military action vis-à-vis the enemy;
  • finality determines a set of tasks and the level of resolution of each one;
  • totality of available means determines the way to resolve the mission and achieve the objective (correlation of forces);
  • coherence of leadership (unity of command);
  • economy of forces, resources, time and space;
  • support and restoration of combat capability;
  • freedom of maneuver.
  • It should be noted that these principles apply not only to the implementation of military action as such. They are also applicable as a system of thought to other non-operational activities.

An honest analysis of the conflict in Ukraine would have identified these various principles and drawn useful conclusions for Ukraine. But none of the self-proclaimed experts on TV were intellectually able to do so.

Thus, Westerners are systematically surprised by the Russians in the fields of technology (e.g., hypersonic weapons), doctrine (e.g., operative art) and economics (e.g., resilience to sanctions). In a way, the Russians are taking advantage of our prejudices to exploit the principle of surprise. We can see this in the Ukrainian conflict, where the Western narrative led Ukraine to totally underestimate Russian capabilities, which was a major factor in its defeat. That is why Russia did not really try to counter this narrative and let it play out—the belief that we are superior makes us vulnerable….

This is very, very similar to what Martyanov describes in the current Castalia Library book, Losing Military Supremacy. Which should come as no surprise, as both men are familiar with Russian military thought and how different it is than what Victor Davis Hanson once described as the Western way of war. The short term thinking of the Western military strategists can most easily be seen in their historical obsession with “the decisive battle” and strange focus on the idea that losing a battle or two, or even denying him a sufficiently impressive victory, will somehow weaken the enemy leader and magically cause him to be replaced by a more amenable successor.

Which is why the Russians are patiently winning a brutal attrition war in Ukraine while the US bleeds itself out everywhere from Afghanistan to Yemen.

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Bookshelf Billionaire

Some people flex their gold chains and other flex their debt-financed sports utility vehicles. But contra the assumptions of this semi-literate Potemkin Pushkinite with a terminal case of imposter syndrome, the discerning intellectual flexes his bookshelves:

I confess that when I take a Zoom call, I rotate my chair and my laptop 45 degrees so that my head is framed by books. This is because the straight-on view is of an office full of piled up junk. The bookshelf background is tidier, but you can’t tell much about me from the titles, because I haven’t read any of them. They’re not my books – just my share of the general household burden, most of them paperbacks bought by my wife before she met me. But if you’re impressed by seeing the Complete Prose of Pushkin above my left ear, I’m also OK with that.

The Pushkin illusion is perhaps an unintentional example of Bookshelf Wealth, a design trend cited by both the New York Times and Homes & Gardens magazine, and described as a “whole home vibe” by TikTok interior designer Kailee Blalock. It’s an understated, homey look that seems to involve getting some books and putting them on shelves.

Of course it’s not that simple. “These aren’t display books,” says Blalock. “These are books that have actually been curated and read.” In that case Pushkin is ruled out on both counts. But what do your curated books say about you? How wealthy are you, bookshelf wise?

Leaning books, lying down books, books competing for shelf space with non-book items
This is meant to convey casual intellectual abundance: my books, they just get everywhere! It’s curated overspill affected by someone who has never known true overspill – a book on its side takes up the shelf space of at least five upright books. When you really have too many books they end up wedged in so tight you can’t get them back out. This looks more like you’re halfway through packing up to move house, which is very now.

Shelves filled with antique, leather-bound volumes
No one will ever believe you’ve read these, much less curated them. It just looks as if you’ve tried to purchase cultural credibility by the metre. If that’s the effect you’re after, you’re better off slicing off the spines and gluing them directly to the walls.

If books on shelves are Bookshelf Wealth, then it’s readily apparent that I am a Bookshelf Billionaire. My leather books are not merely curated and read, but I’ve published about half of them, and even written a few as well.

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Disintegration

One of the reasons I selected Martyanov’s book on military supremacy for the Library series is that he’s considerably more perceptive than the average geopolitical observer. I’ve been reading his book on the ongoing breakup of the United States, and it was intriguing to see that he’s one of the few observers who understands that the USA is not, and has never been, a genuine nation.

Some quotes from his book Disintegration:

  • America’s collapse has been in the progress for some time now, and has been predicted by a number of observers—but in actuality the utter, historically unprecedented degeneration of America’s so-called elites, which have exhibited a level of malfeasance, incompetence, cowardice and betrayal of their own people on such a scale that it beggars belief. 
  • For the United States to survive as a unified country, a completely new narrative, grounded in reality, is required and the current American policy elites, be they purportedly left radicals and those forces which support them or the nominally conservative, no less grossly indoctrinated forces on the right, are utterly incapable of formulating the real American national interests, or of creating a new narrative, because the United States is in the process of the fragmentation of what used to be an American proto-nation, but ultimately never fully turned into the real thing. Political creeds, or abstract, often utterly wrong ideas are simply not enough to inspire and, most importantly, to sustain the growth of a nation. The modern American elites and their European followers have proved that beyond a shadow of a doubt.
  • Today neither France nor the United States are nations in a full meaning of this word, with France descending into the chaos of globalist multicultural orthodoxy, while the United States is completely subverted by ethno-religious and corporate interests.
  • Today, the United States is not a nation, certainly not in the traditional sense of having a dominant ethnic nationality, while the foundational American meme and myth of a “Melting Pot” has turned out to be exactly that—a myth. America’s many ethnicities have not been assimilated to form a single nation, but rather are more aptly regarded as a salad bowl comprised of descendants of the majority “white” European settlers and the “colored” (Native American, African American, and Latin and Asian immigrant) minorities, all maintaining to varying degrees their original cultural identities. But even the salad bowl analogy is too weak to reflect the multicultural disaster the United States has become.

Martyanov clearly sees what generations of Americans, blinded by relentless civnattery and immigrant propaganda, and generations of immigrants, averting their eyes from the historical facts that make them feel uncomfortable or left out, cannot. It is this ability to be ruthlessly objective about the world as it is, rather than the world we are told it is, or the world we wish it would be, that makes his insights and observations valuable.

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Reading List 2023

Whereas 2022 was primarily devoted to Japanese murder mysteries, I binged on two Italian detective series in 2023, one written by a Sicilian set in Sicily and the other by an American set in Venice. On the whole, I tend to slightly prefer Commissario Brunetti to Inspector Montalbano, but both series are thoroughly entertaining and well worth exploring. Of the 119 books I read in 2023, I’d say the best of those I read for the first time were From Caesar to the Mafia, Some Prefer Nettles, and Chronicles of a Liquid Society.

Caravan of the Damned, Chuck Dixon
Westmark, Lloyd Alexander
Kestrel, Lloyd Alexander
Beggar Queen, Lloyd Alexander
A Death in Tokyo, Keigo Higashino
The Illyrian Adventure, Lloyd Alexander
The Lake, Banana Yoshimoto
Asleep, Banana Yoshimoto
Lizard, Banana Yoshimoto
Hardboiled Hard Luck, Banana Yoshimoto
Novelist as a Vocation, Haruki Murakami
First Person Singular, Haruki Murakami
Black and White, Junichiro Tanizaki
Colorless Tsukuru Tazaki and his Years of Pilgrimage, Haruki Murakami
The Shape of Water, Andrea Camilleri
The Terra-Cotta Dog, Andrea Camilleri
The Snack Thief, Andrea Camilleri
Voice of the Violin, Andrea Camilleri
Excursion to Tindari, Andrea Camilleri
The Scent of the Night, Andrea Camilleri
Rounding the Mark, Andrea Camilleri
The Patience of the Spider, Andrea Camilleri
The Paper Moon, Andrea Camilleri
The Wings of the Sphinx, Andrea Camilleri
August Heat, Andrea Camilleri
The Track of Sand, Andrea Camilleri
The Potter’s Field, Andrea Camilleri
The Age of Doubt, Andrea Camilleri
The Dance of the Seagull, Andrea Camilleri
Treasure Hunt, Andrea Camilleri
Montalbano’s First Case, Andrea Camilleri
Angelica’s Smile, Andrea Camilleri
Game of Mirrors, Andrea Camilleri
A Beam of Light, Andrea Camilleri
A Voice in the Night, Andrea Camilleri
A Nest of Vipers, Andrea Camilleri
The Pyramid of Mud, Andrea Camilleri
Death at Sea, Andrea Camilleri
The Overnight Kidnapper, Andrea Camilleri
The Other End of the Line, Andrea Camilleri
The Safety Net, Andrea Camilleri
The Sicilian Method, Andrea Camilleri
The Cook of the Halcyon, Andrea Camilleri
Studies in Napoleonic Warfare, Charles Oman
Forbidden Colors, Yukio Mishima
The Jungle Grows Back, Robert Kagan
The Return of History and the End of Dreams, Robert Kagan
Quantum of Nightmares, Charles Stross
The Pit of the Blind God, Chuck Dixon
People of the Lie, M. Scott Peck
Death at La Fenice, Donna Leone
Death in a Strange Country, Donna Leone
The Anonymous Venetian, Donna Leone
Venetian Reckoning, Donna Leone
Acqua Alta, Donna Leone
The Death of Faith, Donna Leone
A Noble Radiance, Donna Leone
Fatal Remedies, Donna Leone
Friends in High Places, Donna Leone
A Sea of Troubles, Donna Leone
Wilful Behaviour, Donna Leone
Uniform Justice, Donna Leone
Doctored Evidence, Donna Leone
Blood from a Stone, Donna Leone
Through a Glass, Darkly, Donna Leone
Suffer the Little Children, Donna Leone
The Girl of His Dreams, Donna Leone
About Face, Donna Leone
A Question of Belief, Donna Leone
Drawing Conclusions, Donna Leone
Beastly Things, Donna Leone
The Golden Egg, Donna Leone
By its Cover, Donna Leone
Falling in Love, Donna Leone
The Waters of Eternal Youth, Donna Leone
Earthly Remains, Donna Leone
The Temptation of Forgiveness, Donna Leone
Unto Us a Son Is Given, Donna Leone
Trace Elements, Donna Leone
Transient Desires, Donna Leone
Intervention, Julian May
Jack the Bodiless, Julian May
Diamond Mask, Julian May
Magnificat, Julian May
Marshal of Victory, Giorgy Zhukov
Present Dangers, Robert Kagan, ed.
The Long Goodbye, Raymond Chandler
The Big Sleep, Raymond Chandler
The High Window, Raymond Chandler
The Lady in the Lake, Raymond Chandler
The Little Sister, Raymond Chandler
Farewell, My Lovely, Raymond Chandler
Stupefying Stories 24, Rampant Loon
T, Haruki Murakami
Dead-End Memories, Banana Yoshimoto
The Last Train, Michael Pronko
The Moving Blade, Michael Pronko
Tokyo Traffic, Michael Pronko
Tokyo Zangyo, Michael Pronko
Azabu Getaway, Michael Pronko
Some Prefer Nettles, Junchiro Tanizaki
Red Roofs and Other Stories, Junchiro Tanizaki
Longing and Other Stories, Junchiro Tanizaki
A Cat, a Man, and Two Women, Junchiro Tanizaki
Levon’s Time, Chuck Dixon
Levon’s Home, Chuck Dixon
Season of Skulls, Charles Stross
From Caesar to the Mafia, Luigi Barzini
Things That Happened Before the Earthquake, Chiara Barzini
Lord of Light, Roger Zelazny
A Night in the Lonesome October, Roger Zelazny
Between Planets, Robert Heinlein
Red Planet, Robert Heinlein
Tunnel in the Sky, Robert Heinlein
Margin of Victory, Douglas MacGregor
Pirate Freedom, Gene Wolfe
Equal Danger, Leonardo Sciascia
An Italian Education, Tim Parks
Chronicles of a Liquid Society, Umberto Eco

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Studies in the Napoleonic Wars

Book 4 in the Castalia History series, the subscription book for January-February-March, is Studies in the Napoleonic Wars by Sir Charles Oman. This is an excellent book that will be enjoyed by those who are familiar with Napoleonics as well as by those who are not. It’s esoteric enough to appeal to the subject matter expert while also being sufficiently accessible and interesting to those who know nothing about military history.

To subscribe to Castalia History, click here. Please note that Books 2 and 3 are already sold out. We are therefore increasing the print run for Book 4 from 550 to 650 books.

Also, the January newsletter has been sent out to all of the Library, Libraria, and History subscribers on the mailing list. If you are a subscriber who did not receive the email, email me and request being added to the mailing list. Of possible interest is the discount code for a complimentary copy of A SEA OF SKULLS, the complete edition, as previously promised. A complimentary copy of THE ALTAR OF HATE is also included.

Another good way to stay up to date is to join the Castalia Library Collectors group on LibraryThing. It also serves as a useful reference for the historical subscriptions.

We have not yet announced the January-February book for the Library/Libraria subscription as we are waiting to see if we can announce a new acquisition in time for this yet or not. We anticipate making that announcement sometime in the next two weeks.

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Cancelling the Cancel Pigs

According to recent a recent report on Fandom Pulse, things are not going well for the SJWs in the comics industry. Apparently, it wasn’t enough for them to bite the hands that feed them, so they proceeded to attack the very stores that sold their products:

Now it looks like the chickens have come home to roost. First, there was the news that cancel pig Mags Visaggio was begging for money online on X: “We could use some help till our next paycheck (invoiced Dec 7) following a pretty catastrophic month.”

Now, a new bombshell dropped when award-winning writer of science fiction, steampunk, and comics Jon Del Arroz tweeted on New Year’s Day: “I’ve heard from a retailer insider that several shops are refusing to order books by the “cancel pigs” who insulted shop owners. Not a good start to 2024 for the mainstream comic industry!”

Why Marvel and DC writers ever thought it a good idea to attack the retailers that are selling your comics will be a mystery for the ages. Now it looks like the cancelled pigs are the ones who are going to be cancelled.

Cancel Pigs Are Getting Cancelled, FANDOM PULSE, 2 January 2024

If you don’t listen to your audience, and if you not only refuse to take their concerns into account, but actually attack them for the mere fact of possessing those concerns, you should not be surprised to eventually discover that you do not have an audience.

In respect of this principle, and after dozens of discussions with various parties, the Castalia team has decided that we are not going to attempt to save the independent publishing industry from itself in 2024. Why should we be more concerned about its fate than those who actually depend upon it are? As one member of our team sagely observed: “It’s too soon. They’re worried, but they aren’t panicked yet. They still have faith in the status quo.”

So, what we’re going to concentrate on this year is improving our processes, reducing our production times, and elevating each element of the operation to the highest possible level of quality and service. We improved in 2023, but we still have a long way to go. Once our own House is entirely efficient and in order, perhaps we can spare a few thoughts for those whose livelihoods and businesses are being systematically destroyed by a certain corpocratic behemoth.

And on a not-unrelated note, the Library email will go out tonight.

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Mailvox: a brief review of ASOS

AD writes the first review of the complete A SEA OF SKULLS.

I’ve finished A Sea of Skulls. Bought it, set out to read a chapter a night…which became two, and then three, and by the time I reached about the 1/3 point, I put the whole world on hold and finished it in two days.

As usual, your writing skill and style are impeccable–entertaining and engaging. For every plot thread closed you’ve managed to dangle three more…though, I think the next book will have to crack the planet and drain an ocean to top this ending.

Thoroughly enjoyable. I appreciated how the races have their own issues that so perfectly mirror modern ones, and enjoyed working out the foreign words from context. And I remain impressed by your skills–you managed to take a thoroughly repulsive Orc, turn him into a viewpoint character, and make him understandable, if not necessarily empathetic. I was convinced he was going to join Skuli any minute when he was ordered to throw himself onto the shield wall.

And, speaking of Skuli, his last quest was excellent. Here’s to the next book–unless, of course, you retire to the tropics and dump the whole thing into the lap of Brandon Sanderson.

I think Brandon Sanderson is too busy counting his crowdfunding money these days to be available to finish off anyone else’s epic fantasy series. So, I’ll just have to finish it myself.

UPDATE: The Didact graciously named A SEA OF SKULLS one of his best books of 2023:

Has he stuck the landing with the full version of Book 2?

Mostly, yes, he has.

ASOS has a few flaws to it, most of which relate to the difficulties in keeping the various plot-lines straight. You may have to go back and read the first book again to understand all the machinations behind the Amorran side of things – it has, after all, been eleven years since the first book saw the light of day, and quite a lot has happened since then.

The biggest flaw with the book has to be the ending, which definitely feels rushed and more than a little forced. I get the distinct impression that OBADSDL(PBUH) found himself getting lost in the details and realised this giant door-stopper of a book was getting really crazy – the full book will probably clock in at around 914 (!!!!!) pages, and that is a monumental text by any measure.

None of this changes a fundamental fact:

This is one of the best high fantasy books ever written.

High praise indeed. And while I never object to any reader’s impressions – they are simply what they are – in the interests of accuracy I will point out that the endings were neither rushed nor forced from my perspective, as they were always bound to take the various shapes they did by virtue of the character perspective limits. Remember, I’m not George Martin, and while I don’t do outlines, I do strictly limit how many characters get their own perspective and how many sections they get apiece. So, I always know roughly how much space I have with which to work in order to get to the close I have in mind.

You may notice that the word and page counts are almost identical to ATOB. That’s not an accident. And AGOG will be the same.

This isn’t to say one can’t reasonably criticize the particular sections of the story on which I choose to concentrate the detail. Perhaps it would be better if the middles were shorter and the ends longer. My choices are almost certainly suboptimal in some senses, and some characters get less “camera time” while others get more than various readers would prefer.

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Traffic Report 2023

At last, this blog appears to be, like its author, clearly past its peak. As I mentioned last year, the torch has been effectively passed to the community as a whole, and to other platforms and media. It’s neither frustrating nor to be lamented that the ideas can be transmitted so efficiently now that they reach people who have absolutely no direct contact with VP, the Darkstream, or any other traditional communications vehicle. See: Sigma Male. To the contrary, the current situation is to be viewed as an accomplishment and as a relief.

This is not an elegy or a farewell note for Vox Popoli. It’s simply a clear-eyed observation of how things have been playing out of late. Whether we like it or not, everything has a lifespan, time is limited, and it therefore behooves us to be realistic and practical about where things are, so that we can focus our efforts and energy appropriately. That’s why I track these numbers and write these summaries.

In 2023, Vox Popoli had 10,593,334 WordPress pageviews, down 11.9 percent from last year. The blog is now running at an average rate of 29,023 daily pageviews, down 10.1 percent from an average 32,926 last year. Total historic blog views closed out the year at 275,166,140. The running annual pageview totals are as follows:

2008: 3,496,757

2009: 4,414,801

2010: 4,827,183

2011: 5,422,628

2012: 6,098,774

2013: 9,340,663

2014: 11,236,085

2015: 16,211,875

2016: 25,817,343

2017: 31,216,357

2018: 32,260,094

2019: 32,757,068

2020: 41,338,037

2021: 38,884,355

2022: 12,018,040

2023: 10,593,334

The big news for 2023 was that I finally finished, and published, the complete edition of A SEA OF SKULLS. It appears to have been received well by the Selenoth fans as a worthy successor to A THRONE OF BONES, and since it is not available for review on Amazon, I will post the first mini-review that I have received from a reader here later today. I have already started working on the final book in the Arts of Dark and Light series, which will be called A GRAVE OF GODS, and which I plan to publish in 2026.

Last year I said that “the Bindery, Selenoth, and a revival of Castalia’s traditional publishing are my top priorities for the new year.” We made excellent progress on all three fronts, and we have improved the infrastructure to the point that we can expect to publish one or more conventional books a month in 2024. We also expect to print, bind, and ship The Iliad and The Odyssey to the Bindery backers this year; those who missed the crowdfund but wish to support the Bindery will be given the opportunity to purchase copies before we start printing them.

The biggest new development in 2023 was the launch of the Castalia History subscription. This was a massive success, as it is already two-thirds as large as the Castalia Library subscription. Books 2 and 3 are scheduled to be bound the first week of February and Book 1 will be bound soon after. Book 4 will be announced tomorrow, both here, on LibraryThing, and via the mailing list tomorrow. With regards to 2024, we recently signed deals with two major publishers and acquired the rights to two significant series, one fiction, one history, so we will be introducing two special limited edition subscriptions later this year.

THE CAMBRIDGE MEDIEVAL HISTORY Vols. I and II

Both Castalia and Unauthorized are extremely healthy and technologically sound. Arkhaven remains strong despite the ongoing collapse of the comics industry, and has even introduced a new and improved frontend. While we are, as usual, behind on a number of our projects, and while we face a variety of challenges, the infrastructure is more solid than it has ever been, and for the first time, we are not reliant upon any cloud services of any kind for any of our various projects. In general, 2023 was a solid year and I believe it has laid the a foundation for a 2024 that promises to be both interesting and a strong step forward.

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