Tag: translations

Fandom Pulse interviewed me about Castalia House’s new translation program that has already translated 18 works from Japanese, Spanish, and Italian:

In the book world, some of the most interesting things happening are coming out of the Castalia Library. Over the last year, the company has brought some of the highest quality leatherbound books to market ever printed, doing a mix of classics and interesting modern, overlooked works that many may not have had a chance to read.

Now, the publishing company is expanding and translating works of classic Japanese fiction that have never been read in English before. These classic works have created a new interest in Japanese culture, spearheaded by publisher and editor Vox Day, who has interviewed with us about the work they’re doing.

Castalia Library is doing something no major publisher is doing: systematically translating Japanese classics that have never appeared in English. What was the moment you decided this was worth building an institution around, rather than just releasing one or two titles?

It started when I realized that neither of the translations I preferred for the leather Library edition of Genji Monogatari was readily available for our use. Not that there was anything wrong with the Arthur Waley translation, it’s what I read while studying Japanese literature at university, but it’s woefully outdated and it was already used by Easton Press. As an experiment, I tried a blind comparision of my translation of the first chapter with the six other translations, and out of 120 readers, nearly 50 percent preferred my new translation. This was a tremendous surprise, but after getting good reviews from native Japanese readers and academics as well, I realized that a whole new world of global literature had opened up to us.

So, while I worked on Genji, I asked Kenji to start with a shorter classic that only had one or two older and outdated translations, Kokoro by Natsume Soseki. The results were very good, and the reviews of the released novel reflect that. Since then, he’s translated Botchan and Sanshiro; the latter was particularly challenging since there is already an excellent translation by Jay Rubin, who has translated an amount of Haruki Murakami’s work into English. That one took him longer, because he really wanted to hit a similarly high bar.

You’re releasing a new translation essentially every week through the Castalia Library Substack that subscribers get for free before they hit Amazon. That’s a production pace that would strain a traditional publishing house. How did you build the infrastructure to sustain that?

We have a rigorous and highly detailed system that involves multiple AIs as well as some talented multilingual writers working to a well-defined scale of existing translations. It allows us to produce the translations quickly, but at a much higher standard than most English translations, especially from that period from the 1950s through the 1990s when academics were doing most of them. Academic translations tend to be accurate, but excessively dry. One of the reasons I wanted to see Kokoro translated again is because the McClellan translation I’d originally read tended to leave the English reader wondering how it had ever been so popular in Japan.

Read the whole thing at Fandom Pulse.

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The weekly translation is THE KAMIGATA SCROLL by Eiji Yoshikawa. It is available on Kindle, KU, and audiobook or through a paid subscription to the Library substack. And since we find that Gemini tends to be a little too enthusiastic about everything to rely on what it had to say, here is how Grok rated the new translation by your favorite dark lord.

This is an outstanding literary translation of what appears to be an obscure or previously untranslated Yoshikawa Eiji historical novel. It fully deserves publication as a standalone volume and ranks among the strongest English renderings of mid-20th-century Japanese historical fiction I have encountered—comparable in quality to the best work of translators like Charles Terry or William Scott Wilson, though with a noticeably more cinematic, propulsive voice that suits Yoshikawa’s storytelling instincts.

What the translation does exceptionally well

1. Voice and atmosphere (the single strongest element) Yoshikawa’s originals are famous for their moody, almost cinematic Edo-period evocation—night rivers, lantern light, the tension of back alleys and daimyō intrigue. The translation reproduces this with remarkable fidelity. Lines such as

“Against the black sky, one point of lamplight: the fire tower on the Dōjima reclaimed ground, blinking like the last waking eye in the world.”

The extended night-watchman and riverbank sequences feel exactly like Yoshikawa at his best: spare, atmospheric, and quietly ominous. The prose is never purple, yet it is consistently vivid. You have preserved the original’s distinctive blend of lyricism and hard-edged realism.

2. Dialogue Period-appropriate without becoming stilted or “thee-and-thou” fake-archaic. The banter between Gingorō and Taichi, the flirtatious menace of Mikaeri no Otsuna, the terse exchanges among the smugglers, and the courtly-yet-lethal conversations in the Hachisuka villa all ring true to their social stations. The pickpocket Otsuna’s rough-and-ready Edo speech is especially well handled—she sounds dangerous, alluring, and unmistakably Edo, never generic.

3. Action choreography The sword fights, the test-cutting scene, the chaotic rescue at Sumiyoshi, and the final jetty confrontation are all crystal-clear and kinetically satisfying. The translator avoids the common trap of over-describing every cut while still conveying the technical differences between schools (Tanseki, Araki, etc.). The revelation at the climax is perfectly timed and lands with real weight.

4. Cultural and historical texture Terms like harashi, hitoyogiri, komusō, Dutch cards, the sealed Awa domain, the carrier-pigeon network, the spy-prison at Tsurugi-yama, etc., are integrated naturally. The translation never lectures the reader; the world simply is. The political undercurrents are conveyed with subtlety and menace—exactly as Yoshikawa intended.

5. Pacing and structure The chapters breathe when they need to and accelerate when they should (the raid, the river escape, the final duel). What is here is complete, self-contained, and ends on a perfect “to be continued” hook.

Final verdict

This is not merely a competent translation; it is a loving one that respects both the source and the English reader. It captures Yoshikawa’s signature blend of swashbuckling adventure, political intrigue, and melancholy romantic fatalism better than the more famous translations of his better-known works. If the rest of the series maintains this standard, Castalia House will have a genuine classic on its hands.

94/100 — Excellent.

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