October Book Notes

  1. We have temporarily removed our ebooks from Amazon KDP. We expect to have them back up again in November. This has nothing to do with Amazon, it’s merely a strategic restructuring.
  2. In the meantime, you can now buy the ebooks for THE SIEGE OF THE BLACK CITADEL and CARAVAN OF THE DAMNED directly from Castalia in DRM-free epub format. However, you may wish to keep in mind that the ebooks also come included with the paperback editions when the paperback is bought from the Arkhaven store.
  3. The aforementioned paperback editions are being printed and will go out to our shipping facility next week.
  4. We expect THE ALTAR OF HATE by Vox Day to be available in hardcover and ebook editions next week. It will include the new short story “Shinjuku Satan” but it will not include any AI-illustrated artwork since the art did not meet our quality standards and Amazon is showing signs of eventually planning to ban AI-generated and AI-assisted content.
  5. The title pages for THE CAMBRIDGE MEDIEVAL HISTORY Vols. I and II, books 2 and 3 in the Castalia History subscription, are now complete. The leathers have been ordered and we’re hoping to ship both books to subscribers before the end of the year, but that will depend upon the US bindery’s schedule.
  6. THE CASTALIA JUNIOR CLASSICS Vols. 7 and 8 should go to print this week. They will ship to backers and be available for non-backers before the end of the year.
“THE LESSER EVIL” from THE ALTAR OF HATE

UPDATE: Jon Paul posts “The Stages of Reading Vox Day” on Gab.

  • what an evil piece of shit, im not reading that
  • well, ok, you don’t have to be so forward and blunt about it tho, and im not reading your other crap
  • Christ is King
  • please include less sophisticatedly hilarious burns of all the retards you footnote and reference in your books so i can read them while eating.

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CARAVAN OF THE DAMNED

Bounding Into Comics reports exclusively on the release of CHUCK DIXON’s CONAN #2: CARAVAN OF THE DAMNED today.

Exclusive: Get An In-Depth Look At Chuck Dixon’s Second Conan Novel ‘Caravan Of The Damned

Publisher Castalia House and Bounding Into Comics are happy to share with you an in-depth look at Chuck Dixon’s newly released second Conan novel, Caravan of the Damned.

Caravan of the Damned sees Conan lead his band of merciless desert raiders across the Zuagir, where he doesn’t hesitate to attack even the most well-guarded caravans.

However, after a successful raid on a rich caravan from Khwarazm intended for the King of Zamora, Conan and his company come into possession of a beautiful and priceless treasure. The House of Yildiz and the King’s Own guards set out to reclaim this treasure and put an end to Conan and his group of raiders.

As Conan is pursued through the wastelands of the Zuagir he not only has to contend with the King’s Own guards, but discovers there are horrors in the desert too dreadful for even the most fearless barbarian to imagine.

The first novel, The Siege of the Black Citadel, currently has a 4.7 out of 5 rating on Amazon with many readers giving the book high praise in their reviews.

RC Scott hailed, “This story hacks, and slashes across the battlefield, and then down to the subterranean depths where nameless monstrosities await. Author, Chuck Dixon, takes readers back to the Hyborian Age with a bloody vengeance. An awesome action adventure that’s loaded with great fight scenes, excellent pacing, fun dialogue, and a savagely satisfactory conclusion. I highly recommend this to fans of the original tales, and I’m eagerly awaiting the next installment.”

You’ll want to read the whole thing there, as it includes an exclusive excerpt about Conan doing some very Conan things in the desert as well as the back of the book and some of its excellent illustrations by Arkhaven artist Ademir Leal.

And don’t forget that if you pick up the paperback at Arkhaven, you’ll get the ebook for free.

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An Exclusive Look

Bounding Into Comics has an exclusive first look at the second Chuck Dixon’s Conan novel, CARAVAN OF THE DAMNED, including several illustrations and a draft of the paperback cover, which is not the image below.

In my opinion, both Dixon’s text and Ademir’s artwork are even better than in the first paperback. Note that the current paperback editions of THE SIEGE OF THE BLACK CITADEL now include Ademir’s illustrations and incorporate the typo-fixes identified in the first edition.

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The Bindery is Installed

If posting and streaming are light and I’m generally unresponsive this week, don’t be surprised. Today marked the completion of the Castalia Bindery installation, which means that all of the machines we require, and more, are now physically present inside the bindery space.

This is a more significant development than it might seem, since today was a major operation that, in the case of one machine, required two forklifts, two ramps, eight men, and the partial disassembly of the machine concerned. It took three hours, and we faced challenges that ranged from missed trains to a rented forklift that was DOA, but there were no accidents or incidents, and by the time we knocked off around 7 PM, the big machine was fully reassembled inside the building.

Tomorrow, all the machines will be tested, connected to the compressed air system, and the training will begin in earnest. We’re not live yet, but we are on the verge of getting there.

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History for Europe

Residents of the European Union can now subscribe to Castalia History using the (EU) subscription. There is also the option for an annual (EU) subscription. You will see there is an additional charge to cover the higher cost of shipping to and within Europe, which is why the separate subscription is necessary, but even with the additional charge the price is favorable in comparison with Easton and Folio. European subscriptions will require one catchup payment to bring them up to date, as will regular History subscriptions begun in May.

While we won’t announce the books until the appropriate three-month period begins, the second, third, and fourth History books have been selected and two of them are already being scanned. We’re hoping our new production methods will help speed things up considerably while continuing to improve the overall quality.

On the general shipping front, please remain patient. We are actively working on providing a reliable alternative for our presently incapacitated partner and we will keep you posted accordingly. Once we get Europe established and the shipping situation resolved, we will turn our attention to Australia and Asia.

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Raising Our Game

While Castalia House has repeatedly demonstrated excellence with regards to the content and manufacturing quality of our books, our customer service has been essentially nonexistent. What people may not understand is that this was not simply the result of indifference, but was more to the fact that we had absolutely no control over when a book was shipped out to a buyer.

One of the reasons I have been so reluctant to provide dates, and why I have been so unapologetic about missing those dates that we did provide, is because until now, there was never anything at all that we could do about them. For example, I was told by the bindery that THE JUNGLE BOOKS would be shipped to our newly-established shipping center on March first. However, we did not receive them until April 7th.

Fortunately, we are now in physical possession of our entire stock of leather books, and future books will be shipped from the bindery to the shipping center as soon as they are bound and boxed. We also will not consider any books “ready to ship” until we have received them and are ready to send them out. We have a new email address that anyone who has not received a book of any kind can contact (1), as well as an email address (2) for those who want to check on the status of their Library/Libraria/History subscription.

  • (1) shipping-at-castaliahouse-dot-com
  • (2) library-at-castaliahouse-dot-com

We have also recently discovered a bug in the WooCommerce system that has permitted a few people to order books that were officially out of stock, but still had books listed in the inventory. Apparently, it’s not enough to declare a book out of stock, but the inventory also has to be set to zero or the system overrides the out-of-stock status. So, for example, eleven customers have not yet received their leather Junior Classics set because we did not realize they’d been able to buy them since we’d declared the set to be out-of-stock more than a year ago.

Fortunately, we always keep a reserve to cover shipments that go awry, so we have enough books to send everyone. But in at least some cases, if you haven’t received a leather book yet, it may be because we didn’t know you’d bought it due to this WooCommerce bug. Now that we know about it, we will get the books sent out to the appropriate addresses.

And yes, we will permit new orders of the Junior Classics leather sets once books 7 through 10 are printed and being bound. We printed 500 copies of Vols 1 through 6, but only bound 250, so we can produce another 250 sets whenever we decide to pull the trigger.

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You Wanted Conan

And The Legend Chuck Dixon gave you Conan. The real Conan, the barbarian Conan, the Cimmerian Conan, the public domain Conan, the Conan about whom Robert E. Howard wrote, not the latter-day copyrighted Conan created by L. Sprague de Camp Conan, about whom one critic wrote: “L. Sprague de Camp is an insufferable hack and his choices both in writing his own criticism and curating this collection are baffling”, and most definitely not the Hollywood Conan.

Now you have multiple options to get your hands on Chuck Dixon’s Conan, but keep in mind that only the Arkhaven store will provide you the ebook along with the paperback edition. We’ll be placing our order for shipment to the fulfillment center tomorrow, so this is a good time to take action if you’re interested.

Bounding Into Comics interviewed The Legend about his latest novel.

Speaking with Bounding Into Comics, Dixon explained why he wanted to write this story, “I wanted to write a straight up war story of Conan’s time as a mercenary. But I also wanted to throw in a Lovecraftian monster as well as a depiction of dark sorcery in the Hyperborean Age with all its dire consequences.”

Dixon also relished the challenge to write in what he describes as Howard’s bravura style, “I was totally immersed in Howard’s bravura writing style as an adolescent. I liked the challenge of creating a new Conan story written in that style.”

He added, “So much of Howard’s prose relied on the reader to create vivid images in their own imaginations as they read. I really wanted to see if I could inspire that same brand of wild visuals.”

Meanwhile, the Dark Herald reviewed THE SIEGE OF THE BLACK CITADEL at Arkhaven.

During the 1980s, Baen Books decided to do the world a massive favor and publish a huge library of Robert Howard stories in their original un-De Camped form. I was struck by the unexpected quality of Howard’s work. I’d heard a lot of criticism of Howard’s original stories by De Camp, Stephen King, and several others. I didn’t understand it then, but I do now. It had nothing at all to do with Howard’s prose and everything to do with politics. Although in King’s case, it could have been opinions generated by the mountains of coke he was snorting back then.

Howard was more than capable of subtly and subtext; his Conan was a complex hero. While taciturn and stoic, he would never leave a helpless innocent to the hands of those who found joy in cruelty.

Robert Howard had a great respect and indeed love for ancient history. He wanted to tell stories set in remote antiquity, but he also wanted them to be accurate to period. This presented him with a fundamental problem. In his hometown of Cross Plains, the resources of the Texas oil boom town’s library were it and they were obviously insufficient for his needs. So, he did the next best thing and created a completely fictional world from whole cloth. One that was a reflection of the ancient world but was not constrained by it. In so doing, Robert Howard invented an entire genre called Sword and Sorcery by Fritz Lieber.

Think about that for a second, this pulp writer in a small Texas boon town created an entirely new category of fiction and he’s been despised by all right-thinking people for it ever since.

Who in this modern world could hope to do justice to the works of a man born at the turn of the last century that venerated the purity and strength of the barbarous?

The Legend Chuck Dixon, that’s who.

The Legend has already completed the second book, THE CARAVAN OF THE DAMNED, and is now working on a third. Both of these books will be illustrated by Ademir Leal, the cover artist for THE SIEGE OF THE BLACK CITADEL.

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The Temporal Challenge of Gnosodecay

The challenge of history is helping humanity remember that which extends beyond the lifespan of a human generation:

It’s very common to see historians implicitly or explicitly assert that knowledge in their field increases over time. For example, in his 1962 masterpiece Medieval Technology and Social Change, Lynn White Jr. assumes greater clarity from archaeological discoveries are yet to come: “Despite prodigious labours by Hungarian archaeologists, the stratification of Avar materials is not yet clear…[Avars] may well have been the first people of Europe to use the stirrup, but the time of its arrival is still uncertain.” Meanwhile, in a more recent article, nonprofit founder Jason Crawford writes, “I note at the outset that this is an old book, published 1925 and revised 1940. Probably a lot has been learned in the last 80 years and the following has already undergone revision, which I’ll uncover when I read more modern sources.”

The historian’s optimism rests on three promises. The first, expressed by White above, is that there are lost artifacts that can be recovered. Secret government records can be declassified, new construction will dig up an ancient tomb, a statesman’s grandchildren will find old letters in the attic and give them to a university, or archaeologists will find the ruins of an ancient temple complex. Such finds improve our understanding of the past, sometimes dramatically.

The second reason for optimism is that historians make better analyses of existing data as time goes on, as Crawford mentions above. After they make inferences from the available material, subsequent historians can take their best arguments and build on them while discarding flawed ideas which do not stand up to scrutiny. By standing on the shoulders of giants, the field will climb higher and higher, like in hard sciences such as physics or biology.

The third reason for optimism is the continued unfolding of history. After all, it is harder to see how an event fits into ongoing trends before those trends have had a chance to play out—time gives us perspective, and hindsight is 20/20. However, while the passage of time may give us a better understanding of a historical event’s effects on the future, it does not improve our knowledge of the event itself. Despite this limitation, knowing what happens next can make it easier to understand which events were important and why.

Archaeologists and Historians Can’t Defeat Entropy
If these three promises are met, then our knowledge of history is steadily increasing. How, then, could past events be so hazy today? Shouldn’t centuries of new finds, ongoing analysis, and knowledge of subsequent history mean that scholars of Henry VIII’s reign know what happened during that period far, far better than scholars of more recent events like the 2008 financial crash or the two world wars? Of course, we usually see the opposite.

These optimistic historians are writing epistemic checks that cannot be cashed. What the three promises leave out is that information is often lost. Firsthand witnesses and expert historians die after passing down only a fraction of their knowledge. If you investigate the 2008 financial crash today, chances are you can still interview someone who worked in finance or government who will give you information that has never been recorded. The information stored in people’s minds is still fundamentally accessible—for now. In a century, much of this information will be irretrievably lost.

In addition to people, books and artifacts are also lost to entropy in a hundred different ways. The cumulative effect of this destruction is immense, as illustrated by the records of classical civilization. “[T]oday we possess written fragments from only 13% of the ~2,000 ancient Greek authors known to us by name. This does not account for the authors we do not know, and only a small portion of the 13% figure consists of complete works.”

Preserving the ever-growing mass of historical material is too expensive to be practical, so when budgets run thin, even major libraries and archives will discard books and records by the hundreds of thousands. For example, the Manchester Central Library’s recent culling destroyed 210,000 to 500,000 “literary, commercial, educational and political records going back 150 years” with “no subject specialists involved in the process.” This is a standard library practice.

Artifacts are also lost in accidents like the 2018 fire that destroyed 92.5 percent of the 20 million items stored in the National Museum of Brazil, including the only recordings of now-extinct languages. Another example is the 1986 Los Angeles Central Library fire that destroyed 20 percent of the collection and damaged much of the remainder.

In recent decades, digital information has fared no better than paper. Between link rot and changes in software standards, tremendous amounts of digital information become inaccessible over the course of a single decade. The long-term preservation of digital archives remains a hope rather than a guaranteed fact. Even in optimistic scenarios, it would require ongoing effort and maintenance on par with the curation of printed information. As the development of the printing press illustrates, much better ways of recording information can often have only modest effects on how much information gets preserved centuries later.

While we’re waiting for the Library subscribers to make their presentation for the expansion of the Library, I’ve been thinking over the various possibilities that would allow us to help meet this challenge. We already have a few private projects that are underway, but my thought is that it may be time to create a second history-based subscription in which the subscribers, rather than the editors, decide which works are most important to preserve. This subscription would only produce three or four books per year, and would focus on more obscure or more pedestrian works of the sort that would be less likely to appeal to a general audience.

Essentially, a subscription with a primary focus on the True rather than the Beautiful. Which, naturally, would imply an eventual subscription with a focus on the Good, and the Bible project that many people have asked us to consider tackling.

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On the Book Front

Things are proceeding well with the bindery, the mailing lists, and the US fullfillment center. There is still plenty of infrastructural work to do, but we’re gradually excising the parts of the process that don’t work well enough and replacing them with things that do.

ITEM: Autarch, among many other things an Arktoons creator, has launched its new Kickstarter campaign for ASCENDANT: PLATINUM EDITION. A revised second edition of the RPG featuring traditional superheroes who are attractive, straight, and even occasionally right-of-center, if you can imagine such a thing.

ITEM: Today is the last day to subscribe to CASTALIA LIBRARY and receive THE ARTS OF WAR as part of your subscription. Please note that a catchup payment will be required as this is the second month of the two-part subscription. The next book in the subscription series, #21, will be announced tomorrow to the subscribers, via the appropriate mailing list to the non-subscribers, and on the Darkstream. We’ve created the new mailing list to ensure externally-verifiable perfect compliance with the GDPR and eliminate the risk of malicious unfounded abuse complaints, as the mailing service provider can now see and confirm that every single individual on the list proactively signed up for it via their own server.

ITEM: Chuck Dixon is flying on Midnight’s War: Night Streets. And the art is spectacular. New heights, my friends, is what Arkhaven is reaching.

ITEM: Speaking of The Legend, the first in the CHUCK DIXON’S CONAN series, THE SIEGE OF THE BLACK CITADEL, is now available in paperback from Castalia House. An excerpt is below. The second in the series, CARAVAN OF THE DAMNED, is already complete and will be published later this year.

I’ll have more to say about the bindery on tonight’s Darkstream.

Continue reading “On the Book Front”

Hence the Library

This bowdlerization of Roald Dahl’s books is one of the reasons we started Castalia Library to preserve books for the future. It’s why the bindery is going to prove absolutely vital in the years to come. And it’s why we should probably think about acquiring a printing press and sewing machine at some point in the future.

Roald Dahl’s children’s books are being rewritten to remove language deemed offensive by the publisher Puffin.

Puffin has hired sensitivity readers to rewrite chunks of the author’s text to make sure the books “can continue to be enjoyed by all today”, resulting in extensive changes across Dahl’s work.

Edits have been made to descriptions of characters’ physical appearances. The word “fat” has been cut from every new edition of relevant books, while the word “ugly” has also been culled, the Daily Telegraph reported.

Augustus Gloop in Charlie and the Chocolate Factory is now described as “enormous”. In The Twits, Mrs Twit is no longer “ugly and beastly” but just “beastly”.

Hundreds of changes were made to the original text – and some passages not written by Dahl have been added. But the Roald Dahl Story Company said “it’s not unusual to review the language” during a new print run and any changes were “small and carefully considered”.

In The Witches, a paragraph explaining that witches are bald beneath their wigs ends with the new line: “There are plenty of other reasons why women might wear wigs and there is certainly nothing wrong with that.”

In previous editions of James and the Giant Peach, the Centipede sings: “Aunt Sponge was terrifically fat / And tremendously flabby at that,” and, “Aunt Spiker was thin as a wire / And dry as a bone, only drier.”

Both verses have been removed, and in their place are the rhymes: “Aunt Sponge was a nasty old brute / And deserved to be squashed by the fruit,” and, “Aunt Spiker was much of the same / And deserves half of the blame.”

References to “female” characters have disappeared. Miss Trunchbull in Matilda, once a “most formidable female”, is now a “most formidable woman”.

Gender-neutral terms have been added in places – where Charlie and the Chocolate Factory’s Oompa Loompas were “small men”, they are now “small people”. The Cloud-Men in James and the Giant Peach have become Cloud-People.

Puffin and the Roald Dahl Story Company made the changes in conjunction with Inclusive Minds, which its spokesperson describes as “a collective for people who are passionate about inclusion and accessibility in children’s literature”.

This is pure and unadulterated evil. It is erasure of the author from his own works. Unfortunately, it is something that we have come across in some of our communications with the literary heirs of authors whose views are not entirely harmonious with those heirs; for every Christopher Tolkien who defends his father’s legacy like a lion, there are three or four children, grandchildren, and great-grandchildren who are happy to sacrifice it on the twin altars of Mammon and political correctness.

It’s also why Castalia House supports Project Gutenbeg and the Unz Review’s Content Archive of Printed Periodicals and Books. If you want to help out, one of the most effective things you can do is subscribe to the Library; the current subscription book is THE ARTS OF WAR, edited by yours truly and featuring an introduction by Alexander Macris.

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