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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
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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.
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.
The Memoirs of Jacques Casanova de Seingalt, 12 volumes, Translated into English by Arthur Machen, preface by Arthur Symons, Aventuros Society, Flying Stag Press, New York (1925) 12 Frontispieces are pen, brush, and ink drawings photomechanically reproduced as engravings;
King in interviews and in the book itself said the story was inspired by Arthur Machen’s The Great God Pan stating: "Not Lovecraft; it’s a riff on Arthur Machen’s 'The Great God Pan,' which is one of the best horror stories ever written. Maybe the best in the English language.
"Mi último adiós" engraved at the Rizal Shrine, Intramuros "Mi último adiós" is interpreted into 46 Philippine languages, including Filipino Sign Language, [7] and as of 2005, at least 35 English translations known and published (in print). The most popular English iteration is the 1911 translation of Charles Derbyshire, inscribed on bronze.