Tag: translations

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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The fifth volume of the Episodios Nacionales — the great historical novel cycle of Spain

Napoleon at Chamartín by Benito Pérez Galdós is this week’s new translation. It returns the protagonist Gabriel to Madrid in the closing weeks of 1808, as the imperial Grande Armée, recovered from its humiliation at Bailén, marches on the capital with the Emperor himself at its head.

Gabriel’s Inés has vanished into another world. Discovered to be the lost heiress of one of the greatest houses in Spain, she has been carried off to a palace on the Cuesta de la Vega and groomed for a marriage of fortune to the young Count of Rumblar — the dissolute, easily led Don Diego, who divides his nights between gaming dens, comic masonic lodges, and the salons of the manolería, where the celebrated greengrocer beauty known as the Zaina holds court. Barred from the palace and reduced to flinging pebbles at a lighted window, Gabriel shadows his rival through this doomed demimonde — while behind the marriage scheme moves the afrancesado Santorcaz, who has his own secret plans for Inés.

Around this private drama, Madrid braces for the French. The city throws up earthworks and musters a citizen militia, and Galdós fills these chapters with the comic Gran Capitán playing at general, the swaggering bully Mañara, and the whole brawling life of the lower town. Then comes the unthinkable betrayal that Galdós renders into one of the great crowd scenes of European fiction, and the mob, sold out and maddened, falls upon Mañara.

Madrid falls. Napoleon installs himself at Chamartín, just north of the city, and from his headquarters dictates the decrees that will remake Spain entirely to his design. Amid the wreckage Gabriel is captured and swept out of the conquered capital in a chained column of deported “patriots,” driven past the Emperor’s own coach on the road by Chamartín, and sent toward a city about to endure the most terrible siege of the entire war.

Napoleon at Chamartín is at once a panoramic chronicle of a nation’s capital under siege, a savage comedy of Madrid society, and a love story pursued through a falling city, narrated with the older Gabriel’s characteristic blend of self-deprecating wit and moral seriousness.

Available for Kindle, KU, and audiobook on Amazon. The ebooks have already been sent out to the paid subscribers. An excerpt is available at Castalia Library.

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The fourth volume of the Episodios Nacionales — the great historical novel cycle of Spain

July 1808. Napoleon’s armies are invincible. They have crushed Austria, humiliated Prussia, and forced the Tsar to the negotiating table. Now twenty thousand French soldiers occupy Andalucía, and all Europe waits for Spain to submit as every other nation has submitted.

Gabriel Araceli, a young Spanish soldier who survived the slaughter of the Dos de Mayo and the French firing squads in Madrid, rides south with the ragged army assembling to challenge the Empire. Around him march raw recruits, militia volunteers, and hard-bitten regulars — fourteen thousand men with short rations, blistering heat, and the knowledge that no army on the continent has yet beaten Napoleon in open battle.

But Gabriel is fighting two wars. On the parched plains before Bailén, he faces Dupont’s veteran infantry and the terrible French marines. In the intercepted letters he carries in his coat, he faces something worse: the news that Inés, the woman he loves, is to be made legitimate and married to another man — his own commanding officer’s son. While the armies clash under a pitiless Andalusian sun, while men kill each other for a mouthful of water and the guns fall silent for want of powder, Gabriel must reckon with the possibility that victory on the battlefield will mean defeat in everything that matters to him.

Bailén is the fourth novel in Benito Pérez Galdós’s Episodios Nacionales, the great historical cycle that follows Gabriel Araceli from Trafalgar through the upheaval of the Napoleonic Wars. In this volume, Galdós delivers one of the finest battle narratives in nineteenth-century fiction — the engagement that shattered the myth of Napoleonic invincibility and changed the course of European history.

Now available for Kindle, KU, and audiobook on Amazon. The ebooks have already been sent out to the paid subscribers. To receive a new translation every week and support the translation efforts, become a paid subscriber to the Castalia Library substack which has already produced and released more than a dozen original translations from Spanish and Japanese, most of which had never before been available in English.

About the author. Benito Pérez Galdós (1843–1920) is widely regarded as the greatest Spanish novelist since Cervantes. Over four decades, he produced the Episodios Nacionales, one of the most incredible accomplishments of world literature ever written; only 8 of its 46 volumes have ever been translated into English. Pérez Galdós was nominated for the Nobel Prize in Literature five times but never won.

EXCERPT

On the following day we made a movement along the left bank, upstream, as far as a point well above Mengíbar. We understood nothing of it; but Santorcaz, whether from vanity or because he had truly penetrated Reding’s intention, told us:

“Our general knows what he is about, and is a man who understands the philosophy of marches.”

Halting on the banks of the Guadalimas, part of the army occupied itself with incomprehensible movements, and having spent more than a day at this, we found ourselves once more before Mengíbar at nightfall on the 18th, a point which the division of the Marqués de Coupigny had reached some hours earlier. The two armies being reunited, there was no halt beyond what was strictly necessary to collect the provisions of which we stood in such want, and well into the night we took the road for Bailén. We were fourteen thousand men. Everything announced that we were about to have a formal encounter with the French army.

According to our intelligence, Dupont remained at Andújar, reinforced by Vedel’s division. Had they engaged our third corps and the reserve which, having crossed the river at Marmolejo, were situated on the right bank? We believed so, unless Castaños were waiting to attack in earnest until the first and second divisions should fall upon the rear of Dupont’s army, descending from Bailén. Was this the object that guided us on our march? So it seemed.

While the moment of the drama drew near, far from us and upon the flanks of the imperial army, a thousand dramatic convulsions were hastening the catastrophe, tormenting the enemy by degrees. The bodies and columns of guerrilleros, commanded by Don Juan de la Cruz, the Conde de Valdecañas, and the cleric Argote, had scattered like a deadly swarm through the towns and hamlets commanding the French headquarters in the first foothills of the sierra north of Andújar. So furiously did those ardent countrymen pursue the French, and with such rapidity did they disperse to avoid attack, that the invaders found it utterly impossible to be tranquil for a single moment. The powerful giant swatted those venomous horseflies with a blow of his hand; but they returned to buzz about him, tormented him with their terrible stings, and escaped unharmed, fearing neither sword nor cannon, for these weapons were not made for mosquitoes.

The French could not stir from their headquarters save in large detachments: frequently a thousand men were sent to fill a few water-jugs at the nearest spring. If by chance small parties ventured out to forage, they were dispatched by the guerrilleros in less time than it takes to say a creed. Rather than suffer the French to seize a granary, the people burned it: the springs were fouled with mud and dung so they could not drink: the mills were dismantled and their stones buried so that not a single grain could be ground. Woe to any Frenchman who fell behind on the march! He felt himself seized by a thousand furious hands, dragged off by the women, pinched by the children, and knifed by the men, until his existence was extinguished with a terrible shock in the cold depths of a well. The invader found no shelter anywhere, and forcibly confined within the limits of his headquarters, he saw men and nature conspired alike against him.

For this reason, raging and desperate, he longed to fight a pitched battle, confident in his skill and habit of war; and lamenting the stupefaction of the commander-in-chief, he cried: “Let us fight a battle, and though half the army perish, the other half will conquer a puddle to drink from and a handful of dry wheat to put in our mouths.”

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The third volume of the Episodios Nacionales — the great historical novel cycle of Spain

The Nineteenth of March and the Second of May follows Gabriel Araceli from the tranquil gardens of the Royal Residence to the blood-soaked streets of Madrid in the spring of 1808, as Napoleon’s armies enter Spain and ordinary Spaniards rise up against them.

Gabriel is seventeen, working as a typesetter in Madrid and living for his weekend journeys to Aranjuez, where the orphan Inés lives with her uncle, the good-hearted Latinist Father Don Celestino. Their courtship unfolds in some of Galdós’s most beautiful prose. But this private idyll is shattered when Inés’s relations arrive to claim her, Don Mauro Requejo and his sister Doña Restituta, a pair of grotesques worthy of Dickens at his most savagely comic.

The Requejos carry Inés off to Madrid and imprison her in their shop, where she sews from five in the morning until eleven at night. Gabriel abandons his trade and infiltrates the household as a servant, only to discover that Don Mauro intends to marry Inés himself. Meanwhile, outside the shop walls, Spain is falling apart. The court at Aranjuez erupts; Godoy is dragged from hiding; Carlos IV abdicates and the French pour into Madrid. Gabriel witnesses the Aranjuez uprising from inside the mob, through streets lit by torches and filled with fury.

The novel’s climax is the Second of May, 1808, the day Goya painted, the day that began Spain’s war against Napoleon. Gabriel fights in the streets of Madrid against the Mameluke cavalry and French artillery, and the novel ends with one of the most extraordinary passages in nineteenth-century fiction, in which one man’s experience of dying is described in a sensational manner that anticipated literary modernism by more than half a century.

Pérez Galdós weaves domestic comedy, political upheaval, street-level violence, and desperate love into a novel that moves from the lyrical to the grotesque to the devastating. Of the ten novels in the First Series, The Nineteenth of March and the Second of May is the one in which the private life of Gabriel and the historic tragedy of Spain collide most unforgettably.

Available for Kindle, KU, and audiobook on Amazon. You can read an excerpt from the new translation at Castalia Library.

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Fandom Pulse is extremely enthusiastic about the Library’s foray into Spanish literature. One wonders why…

Castalia Library built its reputation translating Japanese literature into English. Natsume Soseki’s Sanshiro, Botchan, and Kokoro. Six volumes of Eiji Yoshikawa’s secret scroll cycle. Nine translations into a catalog that has established Castalia as the most serious independent literary translation operation in the English-speaking world.

Their tenth translation is not Japanese. It is Spanish. And it is one of the most overdue introductions in the history of European literature reaching English readers. The expansion into Spanish literature signals something about what Castalia is building. Their translation subscription has run on Japanese literature since launch. A single pivot to Pérez Galdós announces that the project is broader than a specialty press, that the mission is recovery of major world literature that English publishing has ignored rather than Japanese literature specifically. Forty-five more volumes of the Episodios Nacionales exist. If Castalia follows through, they will have done something no major publisher has attempted in the history of English-language literary translation.

Fandom Pulse reached out to Vox Day asking if they would be translating the entire series, and he told us, “Yes, we are translating the entire 46-volume series.”

I’m pleased to say that not only have more people joined to support Castalia’s translation efforts, but Trafalgar is already the #1 New Release in Spanish literature. One subscriber expressed his opinion after receiving this week’s book:

One of the best rewards on Substack is receiving copies of these historic treasures with new compelling translations, some never having been previously translated to English at all!

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TRAFALGAR is the first volume of the Episodios Nacionales — the great historical novel cycle of Spain

October 1805. Off the coast of Cádiz, the combined fleets of Spain and France sail out to meet the British under Nelson. By nightfall, the Spanish navy will have ceased to exist as a fighting force, and an empire that has ruled the seas for three centuries will have lost them forever.

Gabriel Araceli is fourteen years old. An orphan from the slums of Cádiz, he has been taken into the household of Don Alonso Gutiérrez de Cisniega, a retired naval officer who cannot bear to miss the coming battle. When Don Alonso slips away from his furious wife to join the fleet, Gabriel goes with him, and eventually finds himself aboard the Santísima Trinidad, the largest warship in the world, on the morning of the most catastrophic day in Spanish naval history.

What follows is one of the great battle sequences in European literature: the four-decker as living giant, the sand spread on the planks for the blood, the smoke that swallows the line, the slow agony of a ship that will not surrender and cannot be saved. Pérez Galdós, writing seventy years after the event with the aid of the testimony from the survivors of the battle, gives us a view of Trafalgar from the losing side, not as a British triumph but as a Spanish tragedy, narrated by an old man who was a boy in the rigging and has carried the day with him for the rest of his life.

Trafalgar is the first of forty-six novels in the Episodios Nacionales, Pérez Galdós’s vast fictional history of nineteenth-century Spain, a literary project on the scale of Balzac’s Comédie humaine, and one of the supreme achievements of European realism. Published in 1873, it has remained continuously in print in Spanish for over 150 years. Trafalgar is for readers of Patrick O’Brian, C.S. Forester, and Bernard Cornwell who are interested in seeing war in the age of sail from the other side of the line, and for readers of Tolstoy, Stendhal, and Hugo to encounter one of Spain’s greatest novelists for the first time.

Available for Kindle, KU, and audiobook on Amazon. The ebooks have already been sent out to the paid subscribers. The book is already #1 in the Spanish Literature category.

About the author. Benito Pérez Galdós (1843–1920) is regarded as the greatest Spanish novelist since Cervantes. Over four decades, he produced the Episodios Nacionales, one of the most incredible accomplishments of world literature ever written; only 8 of the 46 volumes have been translated into English. Pérez Galdós was nominated for the Nobel Prize in Literature five times but never won.

About the translation: This is the second English translation of Trafalgar. The first one was in 1884, by Clara Bell, and it is both outdated and a significant departure from Pérez Galdós’s literary style. For an excerpt, please visit Castalia Library. One reader notes: “These translated books have been absolutely amazing, some of the best work that has come out of Castalia House.”

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