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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 ...
In "The Bowmen" Machen's soldier saw "a long line of shapes, with a shining about them". A Mr. A. P. Sinnett, writing in The Occult Review, stated that "those who could see said they saw 'a row of shining beings' between the two armies". This led Machen to suggest that the bowmen of his story had become the Angels of Mons. [1]
The Shining Pyramid Book Cover His early 1920s illustrations show Smith's extraordinary pen skills. Dark and obscure, expressionist and linear, dominated by large black fields they reveal influences of later heritage of Beardsley and Harry Clarke at same time his very distinguishable character.
In the novel The Shining, Danny shares his power of "the shining" with several strangers, where in the film adaptation, he is secretive about it, even when confiding in fellow psychic Dick Hallorann. In the novel, Danny has an extraordinary intelligence, a large vocabulary, is attached to his father and is able to foresee all of Hotel Overlook ...
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.
“The Shining” is brilliantly made around the edges but with (to me) a huge dollop of evil banality at its climax. Yet that’s why “Shine On” is my kind of “Shining” documentary. It ...
For example, Kubrick did 148 takes of the scene in which Hallorann explains The Shining ability to Danny, at the end of which Crothers burst into tears. The shot of Hallorann in a state of shock and horror after being contacted by Danny while staying in Miami also took another 60 takes, which again proved strenuous to Crothers.
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.