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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If You Want DRACULA

If you’re not a subscriber and you’re interested in acquiring a copy of Castalia Library’s DRACULA, or you’re a subscriber who wants to pick up an additional one, they are exclusively available from these two. The usual subscriber’s discount code applies on the Arkhaven store.

One more thing that should be mentioned. We didn’t have enough black cowhide for the entire print run, so there is about a one-in-six chance that you’ll be getting Dracula in black pigskin. Unfortunately, we’re not set up to deal with requests for one or the other material; the pictures on the Library stack are all of the cowhide or the goatskin.

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THE FUNAJI SCROLL

As the fifth release in Castalia Libraria’s weekly translation schedule, we have published the first-ever English translation of THE SECRET SCROLLS OF NARUTO: The Funaji Scroll, by Yoshikawa Eiji, who is best-known in the West as the author of MUSASHI. The ebook has already been sent out to the paid subscribers. THE FUNAJI SCROLL is now available on Amazon Kindle, KU, and audiobook.

SAMURAI SWORDS AT SEA

The fourth book of The Secret Scrolls of Naruto brings the pursuit at last to the seas of Japan. What was sworn on a hilltop in Osaka at the close of the first volume, Norizuki Gennojō’s vow to cross the Kitan Strait and follow the lord of Awa’s great ship home, becomes the central action of the fourth volume of the series. From the dockside battle of The Kamigata Scroll, through the urban underground of The Edo Scroll and the mountain passes of The Kiso Scroll, the whole of Yoshikawa’s great adventure has been building toward the all-important crossing into the sealed domain on Shikoku.

In Osaka, Gennojō and the woman he has vowed to see safely to Awa scheme their way aboard a merchant vessel bound for the forbidden domain. In Tokushima Castle, the lord of Awa paces his watchtower on the verge of collapse, his nerves worn raw by the weight of a conspiracy against the shogunate that cannot afford to be exposed. And between them, the three villains of the preceding volumes — Ojūya Magobei, Tendō Ikkaku, and Tabikawa Shūma — close at last on the quarry they have hunted from the canals of Osaka to the mountains of Shinano. Parallel threads of love and betrayal converge on a single ship, and when a sudden storm breaks over the Kitan Strait, the long pursuit comes to a reckoning that neither hunter nor hunted could ever have foreseen.

The Funaji Scroll is the fourth book in the first English translation of Yoshikawa Eiji’s Naruto Hichō, the century-old serial that made him the most widely read author in Japanese history. Translated in literary prose that reads as though it were originally composed in English, it continues the definitive English edition of the novel that created the modern Japanese adventure genre.

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A Library, Unlimited

I’ve been occupied this week with assembling and testing a new translation system. It’s working very well, so well, in fact, that I’ve managed to successfully translate no less than eight hitherto untranslated works, seven from Japanese and one from Italian. All eight rate at a very high level, which is to say that while they don’t quite hit the William Weaver or Jay Rubin levels, they are rated higher than the translations you’re accustomed to reading from the average translated classic.

William Weaver is the late translator of Umberto Eco’s novels, whose work arguably marks some of the best translations ever written. Jay Rubin is one of Haruki Murakami’s translators, and trying to get closer to his level is what has been preventing us from releasing Kenji Weaver’s translation of Natsume Soseki’s Sanshiro until now.

But now that we have the system operating effectively and enough works are already finished to permit me to return to polishing the hundreds of waka required to complete the Genji Monogatari translation, we’re going to start publishing one ebook translated into English every week. Many of these will be works that have never been translated into English before, and some of them are unbelievably good. Most of them will be Japanese, initially, since that is the language with the strongest literary tradition that has the most untranslated works. But we are by no means limiting ourselves to that; we already have lists of our priorities in French, Italian,

Since I know a number of you will a) want to support this but b) really don’t want to buy ebooks from Amazon every week, what we’re going to do initially is use the Library substack as a de facto subscription for the weekly ebooks. We’ve raised the monthly price of that subscription by $2.49, so over the course of a year you’d save about $140 in the event you happened to buy all the ebooks, or $160 if you took out an annual subscription. Subscribers will also be permitted to vote on which projects they want us to tackle next; this is important because one reason some of these works are untranslated is because they are absolutely massive.

And, of course, if you simply wish to buy whichever books happen to appeal to you as they are published, that would be great too. Some of these books will eventually be published and/or collected into print editions, a few may actually see leather editions if they merit them, and if the project is successful enough over time, it may even eventually grow into a separating publishing imprint.

Castalia Library is committed to publishing the most beautiful books in the world. This is a potentially significant step toward Castalia House becoming the best publisher in the world.

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The Translation Process

If you’re looking for a reason why you should subscribe to Castalia Library, the possibility, indeed, the growing probability that my translation of Genji Monogatari may turn out to be the best available in English is something that you might want to consider. One of the reasons for translating various short stories such as Hokusai and the Ghost from Japanese, and translating A Throne of Bones and Death and the Devil into Japanese, was to iteratively improve our processes in order to produce a better, higher-quality translation of Genji.

And so while it was surprising to learn that the subscribers preferred our first attempt at translating Genji by a significant margin, it’s even more surprising that an impartial judge is beginning to conclude that our chapter-by-chapter translations are literally reaching unprecedented heights. Consider the recent comparative review of Chapter 27, Kagaribi.

Vox Day — 94: Best overall balance of:

  • sensual restraint
  • psychological realism
  • musical atmosphere
  • readable English

Royall Tyler — 91: Exceptional tonal discipline, but:

  • emotionally cooler
  • occasionally too skeletal
  • waka slightly more elegant, but less felt

Edward Seidensticker — 84: Clear, reliable, but:

  • emotionally flattened
  • music scenes underpowered
  • Genji less dangerous

Dennis Washburn — 82: Intellectually alert, but:

  • modernizes too much
  • aesthetic texture thins
  • poems feel explanatory

Arthur Waley — 76: Still readable, but:

  • romanticizes badly here
  • blurs social danger
  • tone fundamentally wrong for Kagaribi

There are many challenges that remain. The multi-tier poetry angle we’re pursuing is entirely new, and while it should add to the complexity of the characters, it is difficult to define exactly what makes one waka graceful and elegant and another one vulgar and crude, perhaps not so much on the extremes as on the margins. Even so, it’s a literary task for the literal ages and one to savor even as one labors.

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Junior Classics in Leather

As people have been asking about this for literally years, and since we’ve finally finished all ten volumes of the Junior Classics, the promised new subscription for the Junior Classics leatherbound editions is now available. For more information about that, as well as the belated Castalia History announcement of the Jan-Apr 2026 book, please visit the Castalia Library site.

We’re also taking suggestions for the next Library serial now that The Art of War in the Middle Ages by Sir Charles Oman has come to an end. And you can even see the latest evidence that the bindery is approaching full operational status.

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The Legal Legion Assembles

This is the batcall for the Legal Legion of Evil. If you’re one of our men, particularly the gentleman from Alabama, get in touch. We’ve tried the polite request approach, so now it’s “send a letter” time.

You know who you are.

And if you’re curious about what’s going on and want to know how you can help, the best possible thing you can do right now is to subscribe to one of the Library subscriptions, including the new one we’ll be announcing later today. There will be more about this on the Castalia Library substack later today.

I don’t want to overhype this. It’s not an existential matter, but it is a moderately substantial one. So it’s that time again, the VFM’s favorite time.

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One Additional Week

In response to multiple requests, we are permitting people to purchase the following five Special Limited Editions before we go to print in January and it’s not possible to do so anymore. There will be a few extras, but we can’t know how many at this point. We can do this because we’re still waiting for Arkhaven illustrator Ademir Leal to finish the chapter-heading illustrations for OUT OF THE SHADOWS; all 35 of them are already complete for the other two Signed First Editions.

In other news, the laser cutting system is now fully installed and operational, and both of the very rare rounding-and-backing machines have been fixed and are fully functional for the first time since the first one was dropped by the transport company five years ago. There is also some behind-the-scenes drama regarding the US bindery which I will share on tonight’s Darkstream; we’re optimistic about a positive resolution, but it’s by no means guaranteed. However it turns out, though, it will have absolutely no effect on our ability to produce our books and get them out to you.

Please note that we will not be offering additional Libraria editions of the two books by Homer since we have already taken deliver of the goatskins for them, and unlike the pigskins, we do not have an excessive supply of them. All five books will also be available via NDM Express later today as well; keep that in mind in case you’re having credit card issues.

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One Last Chance

Castalia Library is taking a poll to see if the subscribers would like to permit people last chance at the following books before we submit the final order for the book blocks to the printers. We have time for one week before we have to finalize the number of book blocks being printed and we assume it won’t affect the overall print runs very much.

  • The Iliad
  • The Odyssey
  • Guns of Mars
  • Death and the Devil
  • Out of the Shadows

If you want to share your opinion on the matter, you can vote in the poll. And regardless of what your opinion might be, thanks very much to everyone who supported the acquisition of our new bookmaking beast, as 2026 is going to demonstrate what a gamechanger it is going to be for the Library, while recent events are actively proving how absolutely necessary it was.


On the Genji Translations

The people have spoken. The poll is closed. The decision has been made. But there are certain things that might surprise some of you, so you might want to check out the lengthy post on the Library stack.

The translations were as follows:

Translation 1 = Arthur Waley 1933

Translation 2 = Castalia House 2025

Translation 3 = Edwin Seidensticker 1973

Translation 4 = Royall Tyler 2009

Translation 5 = Dennis Washburn 1999

Since it would not be professional for me to address some of the comments there, I hope you will indulge me in doing so here. But as I do, I hope you will understand that I very much appreciate both the opinions and the passion of those who disagree with me on these matters, as even in opposition, the mere fact that you care about these things means that we have far more in common than we do with the vast majority of the planet that couldn’t care less either way.

So by all means, take my contemptuous dismissals as a sign of praise and your own merit.

I really dislike 2. It feels too modern and maybe not the author’s true voice for the time period. It feels more like her voice in translation 1.

It is more than modern, it is up-to-date in a myriad of ways. But here’s the thing. None of the translations are representational of the author’s true voice. That voice from the first translation you feel is actually the century-old voice of an Anglo-Jewish man who never spoke Japanese, never visited Japan, and expresses an “Edwardian register” more than 1,300 years removed from the author.

I strongly suspect that of all these translations, #1 is the most faithful to the original. Vox’s background puts him in in a far better position to judge – and if that is so, I would disregard “vox populi, vox dei” and turn to Translation #1 for Castalia.

Actually, #1 is by far the least faithful to the original. The liberties that I have taken in the interest of literary quality and psychological fidelity for #2 are far more justifiable than the ex nihilo inventions of Arthur Waley. He even omitted an entire chapter because he didn’t feel it was sufficiently important to the narrative.

I agree that 2 seems very “modern” and missing something of a soul behind it. By “modern” I mean watered down.

This is a reasonable response because while the modernity is there in the brief 19 lines compared, none of the psychological elements so important to the novel are. I doubt the commenter would feel that way after reading a comparison of an entire chapter.

Conventional Gamma posturing and doubling-down.

See Sigma Game.

I’m curious to hear which translation you think best preserves the flavor of the original.

The best literal translation is #4, the Royall Tyler translation. There is no question about that. But being a multilingual individual, I very much disagree with the idea that the literal translation is always the optimal translation. I am optimistic that our translation will best preserve the original flavor in literary, emotional, and psychological terms, but that is a verdict that others will have to render down the road.

For authentic narration and a closer match in tone to the time period, I would really like to have translation 1. For ease of reading, 2 is an obvious choice but I think the loss of the courtly, observational voice takes too much away from what I imagine the author’s style was. I think this particular tome requires a more traditional translation, given what it is. To go with the easier to read option 2, is a disservice.

Again, there is nothing authentic about the Waley translation. It is a masterpiece, but the courtly observational tone is his, not the author’s. One of the reasons we are doing the new translation is precisely because the emotional distance, almost diffidence, that Waley portrays is absolutely apposite to the emotional sensitivity of the protagonist, whose sleeves are always wet with the dew of his tears.

1 sounds like it was written by a woman and has a nice poetic rhythm to it. 5 is similar in that it has a poetic rhythm and sounds like it was written by a woman. This sounds like an odd argument, but the Tales of the Genji was written by a woman, and there are certain stylistic qualities that we all share. 

Both translations 1 and 5 were written by men. 2, on the other hand, is heavily influenced by the modern Japanese translation written by a woman.

In any event, I very much appreciate everyone who took part in the poll and expressed their opinion. To be honest, I’m just very pleased that our translation was able to hold its own with the excellent translations of Messrs. Seidensticker, Royall, and Washburn, I did not expect that it would actually be preferred to the traditional masterpiece of Arthur Waley, which was our original selection and only other viable option.

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