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Machen's popularity in 1920s America has been noted, and his work was an influence on the development of the pulp horror found in magazines like Weird Tales and on such notable fantasy writers as James Branch Cabell, Clark Ashton Smith, Robert E. Howard, [17] Frank Belknap Long (who wrote a tribute to Machen in verse, "On Reading Arthur Machen ...
The Great God Pan is an 1894 horror and fantasy novella by Welsh writer Arthur Machen. Machen was inspired to write The Great God Pan by his experiences at the ruins of a pagan temple in Wales. What would become the first chapter of the novella was published in the newspaper The Whirlwind in 1890.
On 29 September 1914, the Welsh author Arthur Machen published a short story entitled "The Bowmen" in The Evening News, inspired by accounts that he had read of the fighting at Mons and an idea he had had soon after the battle. Machen, who had already written some factual articles on the conflict for the paper, set his story at the time of the ...
"The White People" is a horror short story by Welsh author Arthur Machen. Written in the late 1890s, it was first published in 1904 in Horlick's Magazine, edited by Machen's friend A. E. Waite, then reprinted in Machen's collection The House of Souls (1906).
Pages in category "Works by Arthur Machen" The following 5 pages are in this category, out of 5 total. This list may not reflect recent changes. G. The Great God Pan;
The Three Impostors; or, The Transmutations is an episodic horror novel by Welsh writer Arthur Machen, first published in 1895 in The Bodley Head's Keynotes Series. It was revived in paperback by Ballantine Books as the forty-eighth volume of the Ballantine Adult Fantasy series in June 1972.
Campanella Cook emailed the Art Work Sales Agreement listing the collection then. It is far beyond what McCraw ever thought: “Twenty-five (25) paintings in oil, tempera, casein, gouache ...
Machen drew copiously on his own early years in Wales and London, and the book as a whole is an exploration through imagination of a potential fate which he personally avoided. One of the first explorations in fiction of the figure of the doomed artist, who is biographically so much a part of the decadent 1890s.