Today,
Arthur Machen is 150 years old. Anyone who knows their Lovecraft understands
the impact that Machen had upon HPL’s work: this is the source of the Aklo
references in the “Dunwich Horror”
and of Nodens (although some think that this entity is an element best
forgotten about in the Mythos canon). But the influence is deeper still: Machen
had a fascination for atavistic transformations and odious miscegenation with
arcane beings forgotten on the fringes of history. Lovecraft took these issues
from “The Great God Pan”, “The Inmost
Light”, The Hill of Dreams and “The
White People” and drew forth “The
Dunwich Horror”, “The Call of Cthulhu” and “The Whisperer in Darkness” – arguably his best material.
Machen
was born in Wales in 1863. He came from a family of clerics and held a lifelong
interest in ritual and ceremony, eventually joining the Hermetic Order of the Golden Dawn where he met A.E. Waite with whom
he became firm friends. He flirted with Catholicism but eventually fell back
into a High Anglican Church-style faith.
Money
was always a pressing concern for Machen who married twice and had a family
late in life. He worked as a journalist (which he hated) and as a manuscript
reader for a London publisher, and he once walked away from literary pursuits
entirely to become an actor in a travelling troupe. His works were met with
general indifference until the 1920s when American reprints of his stories won
him enormous attention in that country.
For
awhile, until the late ‘30s, he lived comfortably off the proceeds from US
sales. Before this, his links to Oscar Wilde’s Aesthetic Movement of writing (Wilde’s answer to the persnicketty
French Decadent style), stood against
him after Wilde’s infamous trial and flight to Paris. In later life he moved to
the English countryside where he was able to live out his days in relative ease
due to a pension from the Civil List and the launching of a literary appeal in
1943 by other celebrated writers (including, among others, Algernon Blackwood,
T.S. Eliot and Max Beerbohm Tree) to raise funds for his retirement. He died on
the fifteenth of December in 1947.
Machen’s
influence is huge, not only on the works of HPL but in many other areas of
literature and art. He is the creator of the World War One urban myth of the Angel of Mons, stemming from his short
story, “The Bowmen”, and he was a
pioneer of the discipline of psychogeography, as can be seen from his novel, The Hill of Dreams. Stephen King has
championed his work as has Peter Straub, whose book Ghost Story shows clearly the inherited DNA from “The Great God Pan”. Writers in many
different fields from Dan Brown to Peter Ackroyd to Sir John Betjeman to Jorge
Luis Borges have a stated debt to Machen and his fantastic fiction.
Bibliography
All
of Machen’s writings are worth looking at, although some have said that he is
not so readable when he is being sarcastic or critical. Most of the time his
tales are massive fruit-cakes, full of references and meaty description: even
in the slightest of his stories, you feel as though you’re looking through a
narrow window into a world of enormous, fully-rounded proportions and walking
away with the merest slice. Those marked with an asterisk below are ‘must reads’
for Mythos fans.
Novels
and Novellas:
“The
Great God Pan” (novella,
1894)*
The
Three Impostors (1895; a
tale woven around a series of short stories, including “The Novel of the Black
Seal” and “The Novel of the White Powder”.)*
The
House of the Hidden Light
(with A.E. Waite: 3 copies published in 1904; reprinted in a 350-copy limited
run in 2003)
The
Hill of Dreams (1907)*
The
Great Return (1915)
The
Terror (1917)
The
Secret Glory (1922)
The Green Round (1933)
Short
Stories:
“The
Inmost Light” (1894)*
“The
Shining Pyramid” (1895)
“The
Red Hand” (1895)
“The
White People” (1904)*
“The
Bowmen” (1914)
“Ornaments
in Jade” (a collection
of vignettes, 1924)
“The Children of the Pool” (1936)
Essays,
Non-fiction and miscellaneous Collected Writings:
Hieroglyphics:
A Note upon Ecstasy in Literature
(1902)
Far
Off Things (part 1 of
his autobiography, 1922)
Things
Near and Far (part 2 of
his autobiography, 1923)
The
London Adventure (part 3
of his autobiography, 1924)
The
Canning Wonder (1925)
Dreads
and Drolls (1926)
The
Secret of the Sangraal and Other Writings (1995)
I can recommend, as well, the short piece "N" which I won't summarise. It's a masterful piece, and involves one of Machen's favourite themes regarding the relationships between the dimensions.
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