The Arthur Machen Megapack: 25 Classic Works Read online

  Table of Contents

  COPYRIGHT INFO

  A NOTE FROM THE PUBLISHER

  THE MEGAPACK SERIES

  ARTHUR MACHEN: A NOVELIST OF ECSTASY AND SIN, by Vincent Starrett

  THE REMEMBRANCE OF THE BARD

  THE PRAISE OF MYFANWY

  THE HOUSE OF SOULS: AN INTRODUCTION

  A FRAGMENT OF LIFE

  THE WHITE PEOPLE

  THE GREAT GOD PAN

  THE SHINING PYRAMID

  THE INMOST LIGHT

  THE HILL OF DREAMS

  THE THREE IMPOSTORS

  THE RED HAND

  THE SECRET GLORY

  THE HAPPY CHILDREN

  MUNITIONS OF WAR

  THE BOWMEN

  THE SOLDIERS’ REST

  THE MONSTRANCE

  THE ROSE GARDEN

  THE CEREMONY

  A DOUBLE RETURN

  THE TERROR

  FAR OFF THINGS

  THE GREAT RETURN

  HIEROGLYPHICS

  A NEW CHRISTMAS CAROL

  ELEUSINIA

  COPYRIGHT INFO

  The Arthur Machen Megapack is copyright © 2013 by Wildside Press LLC. All rights reserved. Cover art copyright © 2013 by Artanika / Fotolia. For more information, contact the publisher.

  * * * *

  “Arthur Machen: A Novelist of Ecstasy and Sin,” by Vincent Starrett, originally appeared in Reedy’s Mirror, October 5, 1917. Reprinted as a chapbook in 1918.

  “The Remembrance of the Bard” and “The Praise of Myfanwy” are taken from the 1918 chapbook edition of “Arthur Machen: A Novelist of Ecstasy and Sin.” No prior publication information was included with that edition.

  “The House of Souls: An Introduction” originally appeared in 1922 in The House of Souls.

  “A Fragment of Life” is taken from The House of Souls (1922).

  “The White People” originally appeared in 1904.

  “The Great God Pan” originally appeared in 1894.

  The Shining Pyramid originally appeared in 1895.

  The Inmost Light originally appeared in 1894.

  The Hill of Dreams originally appeared in 1907.

  The Three Impostors originally appeared in 1895.

  The Red Hand originally appeared in 1895.

  The Secret Glory originally appeared in 1922.

  “The Happy Children” originally appeared in The Masterpiece Library of Short Stories (1915).

  “Munitions of War” originally appeared in The Neolith, August 1908.

  “The Bowmen” originally appeared in 1914.

  “The Soldiers’ Rest” is taken from Holy Terrors, but was originally published in 1915.

  “The Monstrance” is taken from Holy Terrors, but was originally published circa 1910.

  “The Rose Garden” originally appeared in The Neolith, August 1908.

  “The Ceremony” is taken from Holy Terrors, but was originally published circa 1910.

  “A Double Return” originally appeared in

  “The Terror” originally appeared in 1917.

  Far Off Things originally appeared in 1922.

  The Great Return originally appeared in 1915.

  Hieroglyphics originally appeared in 1902.

  “A New Christmas Carol” originally appeared in 1920.

  “Eleusinia,” Machen’s first-published work, originally appeared in 1881.

  A NOTE FROM THE PUBLISHER

  To anyone interested in supernatural fiction, the work of Welsh master Arthur Machen (1863-1947) is a fundamental starting point. In 2008, Stephen King called Machen’s The Great God Pan (included here) “Maybe the best [horror story] in the English language” in an interview. And H.P. Lovecraft wrote: “Of living creators of cosmic fear raised to its most artistic pitch, few if any can hope to equal the versatile Arthur Machen, author of some dozen tales long and short, in which the elements of hidden horror and brooding fright attain an almost incomparable substance and realistic acuteness.”

  We are pleased to include 25 classic works in The Arthur Machen Megapack, including many of Machen’s most famous works, and three rare poems (including his first published work, Eleusinia.”) For more on Machen himself, please see Vincent Starrett’s excellent 1918 essay, which precedes Machen’s work.

  —John Betancourt

  Publisher, Wildside Press LLC

  www.wildsidepress.com

  ABOUT THE MEGAPACKS

  Over the last few years, our “Megapack” series of ebook anthologies has proved to be one of our most popular endeavors. (Maybe it helps that we sometimes offer them as premiums to our mailing list!) One question we keep getting asked is, “Who’s the editor?”

  The Megapacks (except where specifically credited) are a group effort. Everyone at Wildside works on them. This includes John Betancourt, Mary Wickizer Burgess, Sam Cooper, Carla Coupe, Steve Coupe, Bonner Menking, Colin Azariah-Kribbs, Robert Reginald. A. E. Warren, and many of Wildside’s authors…who often suggest stories to include (and not just their own!).

  A NOTE FOR KINDLE READERS

  The Kindle versions of our Megapacks employ active tables of contents for easy navigation…please look for one before writing reviews on Amazon that complain about the lack! (They are sometimes at the ends of ebooks, depending on your reader.)

  RECOMMEND A FAVORITE STORY?

  Do you know a great classic science fiction story, or have a favorite author whom you believe is perfect for the Megapack series? We’d love your suggestions! You can post them on our message board at http://movies.ning.com/forum (there is an area for Wildside Press comments).

  Note: we only consider stories that have already been professionally published. This is not a market for new works.

  TYPOS

  Unfortunately, as hard as we try, a few typos do slip through. We update our ebooks periodically, so make sure you have the current version (or download a fresh copy if it’s been sitting in your ebook reader for months.) It may have already been updated.

  If you spot a new typo, please let us know. We’ll fix it for everyone. You can email the publisher at [email protected] or use the message boards above.

  THE MEGAPACK SERIES

  MYSTERY

  The Achmed Abdullah Megapack

  The Charlie Chan Megapack

  The Craig Kennedy Scientific Detective Megapack

  The Detective Megapack

  The Father Brown Megapack

  The Girl Detective Megapack

  The Jacques Futrelle Megapack

  The Anna Katharine Green Mystery Megapack

  The First Mystery Megapack

  The Penny Parker Megapack

  The Pulp Fiction Megapack

  The Raffles Megapack

  The Victorian Mystery Megapack

  The Wilkie Collins Megapack

  GENERAL INTEREST

  The Adventure Megapack

  The Baseball Megapack

  The Cat Story Megapack

  The Second Cat Story Megapack

  The Third Cat Story Megapack

  The Christmas Megapack

  The Second Christmas Megapack

  The Classic American Short Stories Megapack, Vol. 1.

  The Classic Humor Megapack

  The Dog Story Megapack

  The Doll Story Megapack

  The Horse Story Megapack

  The Military Megapack

  SCIENCE FICTION & FANTASY

  The Edward Bellamy Megapack

  The First Reginald Bretnor Megapack

  The Ray Cummings Megapack

  The Philip K. Dick Megapack

  The Randall Garrett Megapack

  The Second Rand
all Garrett Megapack

  The Edmond Hamilton Megapack

  The Murray Leinster Megapack

  The Second Murray Leinster Megapack

  The Martian Megapack

  The Andre Norton Megapack

  The H. Beam Piper Megapack

  The Pulp Fiction Megapack

  The Mack Reynolds Megapack

  The Science-Fantasy Megapack

  The First Science Fiction Megapack

  The Second Science Fiction Megapack

  The Third Science Fiction Megapack

  The Fourth Science Fiction Megapack

  The Fifth Science Fiction Megapack

  The Sixth Science Fiction Megapack

  The Seventh Science Fiction Megapack

  The Robert Sheckley Megapack

  The Steampunk Megapack

  The Time Travel Megapack

  The Wizard of Oz Megapack

  HORROR

  The Achmed Abdullah Megapack

  The E.F. Benson Megapack

  The Second E.F. Benson Megapack

  The Algernon Blackwood Megapack

  The Second Algernon Blackwood Megapack

  The Cthulhu Mythos Megapack

  The Erckmann-Chatrian Megapack

  The Ghost Story Megapack

  The Second Ghost Story Megapack

  The Third Ghost Story Megapack

  The Haunts & Horrors Megapack

  The Horror Megapack

  The M.R. James Megapack

  The Macabre Megapack

  The Second Macabre Megapack

  The Mummy Megapack

  The Occult Detective Megapack

  The Vampire Megapack

  The Werewolf Megapack

  WESTERNS

  The B.M. Bower Megapack

  The Max Brand Megapack

  The Buffalo Bill Megapack

  The Cowboy Megapack

  The Zane Grey Megapack

  The Western Megapack

  The Second Western Megapack

  The Wizard of Oz Megapack

  YOUNG ADULT

  The Boys’ Adventure Megapack

  The Dan Carter, Cub Scout Megapack

  The Doll Story Megapack

  The G.A. Henty Megapack

  The Girl Detectives Megapack

  The Penny Parker Megapack

  The Pinocchio Megapack

  The Rover Boys Megapack

  The Tom Corbett, Space Cadet Megapack

  The Tom Swift Megapack

  AUTHOR MEGAPACKS

  The Achmed Abdullah Megapack

  The Edward Bellamy Megapack

  The B.M. Bower Megapack

  The E.F. Benson Megapack

  The Second E.F. Benson Megapack

  The Algernon Blackwood Megapack

  The Second Algernon Blackwood Megapack

  The Max Brand Megapack

  The First Reginald Bretnor Megapack

  The Wilkie Collins Megapack

  The Ray Cummings Megapack

  The Guy de Maupassant Megapack

  The Philip K. Dick Megapack

  The Erckmann-Chatrian Megapack

  The Jacques Futrelle Megapack

  The Randall Garrett Megapack

  The Second Randall Garrett Megapack

  The Anna Katharine Green Megapack

  The Zane Grey Megapack

  The Edmond Hamilton Megapack

  The Dashiell Hammett Megapack

  The M.R. James Megapack

  The Selma Lagerlof Megapack

  The Murray Leinster Megapack

  The Second Murray Leinster Megapack

  The George Barr McCutcheon Megapack

  The Talbot Mundy Megapack

  The Andre Norton Megapack

  The H. Beam Piper Megapack

  The Mack Reynolds Megapack

  The Rafael Sabatini Megapack

  The Saki Megapack

  The Robert Sheckley Megapack

  OTHER COLLECTIONS YOU MAY ENJOY

  The Great Book of Wonder, by Lord Dunsany (it should have been called “The Lord Dunsany Megapack”)

  The Wildside Book of Fantasy

  The Wildside Book of Science Fiction

  Yondering: The First Borgo Press Book of Science Fiction Stories

  To the Stars—And Beyond! The Second Borgo Press Book of Science Fiction Stories

  Once Upon a Future: The Third Borgo Press Book of Science Fiction Stories

  Whodunit?—The First Borgo Press Book of Crime and Mystery Stories

  More Whodunits—The Second Borgo Press Book of Crime and Mystery Stories

  X is for Xmas: Christmas Mysteries

  ARTHUR MACHEN: A NOVELIST OF ECSTASY AND SIN, by Vincent Starrett

  Originally published in 1918.

  Some thirty odd years ago, a young man of twenty-two, the son of a Welsh clergyman, fresh from school and with his head full of a curiously occult mediaevalism, privately acquired from yellowed palimpsests and dog-eared volumes of black letter, wrote a classic. More, he had it published. Only one review copy was sent out; that was to Le Livre, of Paris. It fell into the hands of Octave Uzanne, who instantly ordered Rabelais and Boccaccio to “shove over” on the immortal seats and make room by their side for the author. The book was The Chronicle of Clemendy; the author, Arthur Machen.

  Three years ago, about, not long after the great war first shook the world, a London evening newspaper published inconspicuously a purely fictional account of a supposed incident of the British retreat from Mons. It described the miraculous intervention of the English archers of Agincourt at a time when the British were sore pressed by the German hordes. Immediately, churchmen, spiritualists, and a host of others, seized upon it as an authentic record and the miracle as an omen. In the hysteria that followed, Arthur Machen, its author, found himself a talked-of man, because he wrote to the papers denying that the narrative was factual. Later, when his little volume, The Bowmen and Other Legends of the War, appeared in print, it met with an extraordinary and rather impertinent success.

  But what had Machen been doing all those long years between 1885 and 1914?

  In a day of haphazard fiction and rodomontade criticism, the advent of a master workman is likely to be unheralded, if, indeed, he is fortunate enough to find a publisher to put him between covers. Mr. Machen is not a newcomer, however, as we have seen; no immediate success with a “best seller” furnishes an incentive for a complimentary notice. He is an unknown, in spite of Clemendy, in spite of “The Bowmen,” in spite of everything. For thirty years he has been writing English prose, a period ample for the making of a dozen reputations of the ordinary kind, and in that time he has produced just ten books. In thirty years Harold Bindloss and Rex Beach will have written one-hundred-and-ten books and sold the moving picture rights of them all.

  Of course, it is exactly because he does not write books of the ordinary kind that Arthur Machen’s reputation as a writer was not made long ago. His apotheosis will begin after his death. The insectial fame of the “popular” novelist is immediate; it is born at dawn and dies at sunset. The enduring fame of the artist too often is born at sunset, but it is immortal.

  More than Hawthorne or Tolstoy, Machen is a novelist of the soul. He writes of a strange borderland, lying somewhere between Dreams and Death, peopled with shades, beings, spirits, ghosts, men, women, souls—what shall we call them?—the very notion of whom stops vaguely just short of thought. He writes of the life Satyric. For him Pan is not dead; his votaries still whirl through woodland windings to the mad pipe that was Syrinx, and carouse fiercely in enchanted forest grottoes (hidden somewhere, perhaps, in the fourth dimension!). His meddling with the crucibles of science is appalling in its daring, its magnificence, and its horror. Even the greater works of fictional psychology—Dr. Jekyll and Mr. Hyde, if you like—shrink before his astounding inferences and suggestions.

  It is his theory that the fearful and shocking rites of the Bacchic cultus survive in this disillusioned age; that Panic lechery and wickedness did not cea
se with the Agony, as Mrs. Browning and others would have us believe.

  Of Hawthorne, Arthur Symons wrote: “He is haunted by what is obscure, dangerous, and on the confines of good and evil.” Machen crosses those perilous frontiers. He all but lifts the veil; himself, indeed, passes beyond it. But the curtain drops behind him and we, hesitating to follow, see only dimly the phantasmagoria beyond; the ecstasies of vague shapes with a shining about them, on the one hand; on the other the writhings of animate gargoyles. And we experience, I think, a distinct sense of gratitude toward this terrible guide for that we are permitted no closer view of the mysteries that seem to him so clear.

  We glimpse his secrets in transfiguring flashes from afar, as Launcelot viewed the San Graal, and, like that tarnished knight, we quest vainly a tangible solution, half in apprehension, always in glamour. But it is like Galahad we must seek the eternal mysteries that obsess Arthur Machen. There is no solution but in absolution, for it is the mysteries of life and death of which he writes, and of life-in-death and death-in-life. This with particular reference to Machen’s two most important books, The House of Souls and The Hill of Dreams, in which he reaches his greatest stature as a novelist of the soul.

  There are those who will call him a novelist of Sin, quibbling about a definition. With these I have no quarrel; the characterizations are synonymous. His books exhale all evil and all corruption; yet they are as pure as the fabled waters of that crystal spring De Leon sought. They are pervaded by an ever-present, intoxicating sense of sin, ravishingly beautiful, furiously Pagan, frantically lovely; but Machen is a finer and truer mystic than the two-penny occultists who guide modern spiritualistic thought. If we are to subscribe to his curious philosophy, to be discussed later, we must believe that there is no paradox in this.

  But something of what we are getting at is explained in his own pages, in this opening paragraph from his story, “The White People,” in The House of Souls: “‘Sorcery and sanctity,’ said Ambrose, ‘these are the only realities. Each is an ecstasy, a withdrawal from the common life.’” And, a little later, in this: “‘There is something profoundly unnatural about sin…the essence of which really is in the taking of heaven by storm.’”

  One gathers from a general vagueness on the subject that sin is not popular in these times. There are, of course, new sins and advanced sins and higher sins, all of which are intensely interesting. The chief puzzle to the lay mind is why they should bear these names, since they are usually neither new, advanced and high, nor particularly sinful. I am speaking of sin as an offense against the nature of things, and of evil in the soul, which has very little to do with the sins of the statute book. Sin, according to the same Ambrose I have quoted, is conceivable in the talking of animals. If a chair should walk across a room, that would be sinful, or if a tree sat down with us to afternoon tea. The savage who worships a conjurer is a far finer moralist than the civilisé who suspects him—and I use the name moralist for one who has an appreciation of sin.