Take a photo of a barcode or cover
3.46 AVERAGE
3.46 AVERAGE
The Great God Pan, perhaps unfairly, seems to me to be the neglected step child of “weird fiction”. This little book gets nowhere near the attention of Lovecraft’s stories, The King in Yellow, or anything by Lord Dunsany. I think that has more to do with this tales’ lack of a central, charismatic supernatural figure than with the writing, there is no Cthulhu or Hastur here for readers to latch onto. Despite this mild PR problem, this is a properly frightening tale about the limits of human understanding and what unknowable forces might lie right outside our limited perceptions. Dr. Raymond’s monologue in the beginning is certainly a highlight, setting the ominous tone for the rest of the work. Read this if you like Lovecraftian style horror fiction and have an afternoon to kill.
Creepy. Very Rosemary's Baby-esque, but I guess this was written far before that time so maybe I should describe Rosemary's Baby and The Great God Pan-esque. Either way, creepy child of the devil story.
I liked the parallels to Jesus as well. An immaculate conception from the spirit world with a woman named Mary.
I also liked that the "suicides" were never fully explained. They were tied to Helen in some way, but no real explanation beyond that, which makes the story more realistic and more creepy.
I liked the parallels to Jesus as well. An immaculate conception from the spirit world with a woman named Mary.
I also liked that the "suicides" were never fully explained. They were tied to Helen in some way, but no real explanation beyond that, which makes the story more realistic and more creepy.
I came here because Stephen King mentioned it somewhere and that made me want to check it out - glad I did!
I loved the obviously Lovecraftian (though it precedes H.P. Lovecraft, in fact) decadent literature, using Pan for his subversive quality, and building on the way Christianity linked it to paganism, depravation and ultimately the devil.
I love horror that provides ambiance and then make use of the reader's imagination rather than explicitly describing the threat. The more mysterious it can remain, with us only catching glimpses of the what and why, the more frightening it is! For example, the fact we never get to fully understand Helen and her goals makes her story all the more unnerving.
Granted that this is not the horror we are used to anymore. It doesn't check many of the modern tropes or effects we expect from the genre nowadays... though it does unsettle, even now!
But imagine this in the 19th century, when it was published. So transgressive, so sexual. Pushing religious and social boundaries in all directions. I liked that even the "good guys" were not good. There's no morale here.
As mentioned just above, it predates the "Lovecraftian" adjective that describes it so well: this short piece basically kickstarted a whole style and inspired many of the authors now famous for it!
There are some corners cut, but I find it acceptable for a short story and in regard to how much it created and how novel this was at the time.
I loved the obviously Lovecraftian (though it precedes H.P. Lovecraft, in fact) decadent literature, using Pan for his subversive quality, and building on the way Christianity linked it to paganism, depravation and ultimately the devil.
I love horror that provides ambiance and then make use of the reader's imagination rather than explicitly describing the threat. The more mysterious it can remain, with us only catching glimpses of the what and why, the more frightening it is! For example, the fact we never get to fully understand Helen and her goals makes her story all the more unnerving.
Granted that this is not the horror we are used to anymore. It doesn't check many of the modern tropes or effects we expect from the genre nowadays... though it does unsettle, even now!
But imagine this in the 19th century, when it was published. So transgressive, so sexual. Pushing religious and social boundaries in all directions. I liked that even the "good guys" were not good. There's no morale here.
As mentioned just above, it predates the "Lovecraftian" adjective that describes it so well: this short piece basically kickstarted a whole style and inspired many of the authors now famous for it!
There are some corners cut, but I find it acceptable for a short story and in regard to how much it created and how novel this was at the time.
dark
fast-paced
I think I enjoyed the concept of the story more than its execution. And considering how central she is to the plot, it bothers me that there is not one scene where Helen actually gets to appear as a character.
Creepy and mysterious. If you like Poe, Lovecraft, or M.R. James, then this is right down your alley. I first learned about this story from Stephen King, who recommended it and cited it as the inspiration for his story "N." I wasn't disappointed.
medium-paced
It was certainly different than what I had suspected--I should probably go back and read it again, keeping in mind what I now know about the text.
This is not an "in your face" horror/gothic novella. It is much subtler than that, where the horror lies within that which is not described and merely hinted at. Do not expect ghoulies and ghosties to make an appearance and wreak havoc upon an unsuspecting population. No, the horror of this novella is much more insidious, and quite fitting for the time period.
Without spoiling anything more than what you might already know about the mythology of Pan and what not, I will give you a hint of what you should expect (versus above, of what you shouldn't):
The societal and moral dangers of sexuality.
Granted, there are a few scenes in here that are quite dicey and do satisfy the darker tastes for imagery and the supernatural, but as said before--if you're looking for a book that jumps out at you with gore and scares, this is not it.
The prose of this novella is quite easy to follow, and though the narration jumped about enough that I was briefly confused at the end, I might just attribute it to the different format that my Kindle undoubtedly resorted to versus the physical text.
In all, fantastic book, and what a great first novel to start out the new year.
This is not an "in your face" horror/gothic novella. It is much subtler than that, where the horror lies within that which is not described and merely hinted at. Do not expect ghoulies and ghosties to make an appearance and wreak havoc upon an unsuspecting population. No, the horror of this novella is much more insidious, and quite fitting for the time period.
Without spoiling anything more than what you might already know about the mythology of Pan and what not, I will give you a hint of what you should expect (versus above, of what you shouldn't):
The societal and moral dangers of sexuality.
Granted, there are a few scenes in here that are quite dicey and do satisfy the darker tastes for imagery and the supernatural, but as said before--if you're looking for a book that jumps out at you with gore and scares, this is not it.
The prose of this novella is quite easy to follow, and though the narration jumped about enough that I was briefly confused at the end, I might just attribute it to the different format that my Kindle undoubtedly resorted to versus the physical text.
In all, fantastic book, and what a great first novel to start out the new year.
20 lat po nieudanej operacji, mającej na celu wyostrzenie umysłu młodej kobiety poza granice poznania, jej córka, Helen, prowadzi tajemnicze życie istnej femme fatale.
W tym samym czasie bohater, wspominając wydarzenia z przed lat, nie jest w stanie odżegnać myśli, że samobójstwa bogatych przedstawicieli mieszczaństwa są z tym w jakiś sposób powiązane..
Jaki jest tytułowy Wielki Bóg Pan? To coś nienamacalnego. To terror w czystej, nieskrystalizowanej postaci, nieosiągalnej do ujęcia umysłem i słowami, którymi posiadamy we wszystkich językach. To coś, co możemy poczuć w spojrzeniu osoby poddanej precyzyjnej pracy demiurga, której dane było podejrzeć Pana w jego ponadnaturalnej istocie. Czym jest? Nie dowiadujemy się do samego końca, jednak prowokuje samą wiedzą o jego urzeczywistnieniu do szaleństwa, kresu znanego i początku końca, które to nie może obyć się bez grozy absolutnej - perfekcyjnej ciemności. Wyobraźmy sobie, że żyjemy jak dotychczas, i napotykamy wzrok w tłumie, który wbija nas niezwłocznie w absolutny mrok i otchłań. Jedyną drogą ucieczki przed tym niewysłowionym limbo jest śmierć - szybka, jednoznaczna, automatyczna. Jeśli istnieje Wielki Bóg Pan, istnieje również strach przed jego ingerencją. To tą ingerencją, a raczej zapowiedzią ingerencji, straszy Machen w podskórny i bezwzględnie kliniczny sposób, rozcinając słowem, niczym sprawny chirurg skalpelem, nasze oczekiwania.
___
Proza Machena w polskiej dystrybucji nie jest nadzwyczaj dostępna. W zasadzie, mówiąc dosadniej, nie jest niemal w ogóle. Pojedyncze opowiadanie odnalazłem jedynie w oryginale, natomiast udało mi się kupić w międzyczasie zbiór wydany 1 stycznia 2007 roku przez... C&T Crime & Thriller (pierwszy raz słyszę o tym wydawnictwie) zawierający opowiadanie w polskim przekładzie. Tytuł zbioru to "Inne Światy". Ilość stron "Great God Pan" na lubimyczytać jest przesadzona - liczy ono niewiele więcej niż 80 stron jeśli mówimy o oryginalnym przekładzie.
W tym samym czasie bohater, wspominając wydarzenia z przed lat, nie jest w stanie odżegnać myśli, że samobójstwa bogatych przedstawicieli mieszczaństwa są z tym w jakiś sposób powiązane..
Jaki jest tytułowy Wielki Bóg Pan? To coś nienamacalnego. To terror w czystej, nieskrystalizowanej postaci, nieosiągalnej do ujęcia umysłem i słowami, którymi posiadamy we wszystkich językach. To coś, co możemy poczuć w spojrzeniu osoby poddanej precyzyjnej pracy demiurga, której dane było podejrzeć Pana w jego ponadnaturalnej istocie. Czym jest? Nie dowiadujemy się do samego końca, jednak prowokuje samą wiedzą o jego urzeczywistnieniu do szaleństwa, kresu znanego i początku końca, które to nie może obyć się bez grozy absolutnej - perfekcyjnej ciemności. Wyobraźmy sobie, że żyjemy jak dotychczas, i napotykamy wzrok w tłumie, który wbija nas niezwłocznie w absolutny mrok i otchłań. Jedyną drogą ucieczki przed tym niewysłowionym limbo jest śmierć - szybka, jednoznaczna, automatyczna. Jeśli istnieje Wielki Bóg Pan, istnieje również strach przed jego ingerencją. To tą ingerencją, a raczej zapowiedzią ingerencji, straszy Machen w podskórny i bezwzględnie kliniczny sposób, rozcinając słowem, niczym sprawny chirurg skalpelem, nasze oczekiwania.
___
Proza Machena w polskiej dystrybucji nie jest nadzwyczaj dostępna. W zasadzie, mówiąc dosadniej, nie jest niemal w ogóle. Pojedyncze opowiadanie odnalazłem jedynie w oryginale, natomiast udało mi się kupić w międzyczasie zbiór wydany 1 stycznia 2007 roku przez... C&T Crime & Thriller (pierwszy raz słyszę o tym wydawnictwie) zawierający opowiadanie w polskim przekładzie. Tytuł zbioru to "Inne Światy". Ilość stron "Great God Pan" na lubimyczytać jest przesadzona - liczy ono niewiele więcej niż 80 stron jeśli mówimy o oryginalnym przekładzie.
The Great God Pan, which started as only a single chapter in a British newspaper before later being published as a full novella in 1894, is widely regarded as a vastly influential work of gothic horror. Its touch has run deep, impacting the tastes of many a great author with its unique and dreadful flavor of horror.
Indeed, Machen had crafted a dish so foreign to the common palate of that time that the controversy it sparked comes as little surprise. Critics dismissed the work as the product of a diseased mind, intent on exposing readers to a morbid tale. Yet it captivated others, with peers such as Oscar Wilde and Bram Stoker praising the story. The spice that made this dish so repulsive to its critics was intoxicating to its supporters, inspiring them to implement its elements into their works, such as Stoker's "Dracula", H.P. Lovecraft's "The Dunwich Horror", and Stephen King's "N".
It would seem all but inevitable, then, that anyone with an inkling of curiosity in the genre may find themselves drawn back to this common origin point. In my own case, a love of Guillermo del Toro's film "Pan's Labyrinth" led me to seek out a list of its influences, which included "The Great God Pan".
Despite its renown, I approached the novella with no prior knowledge—unfamiliar with Machen, unaware of its 1890s United Kingdom setting, and even misinterpreting 'Pan' as a geological term rather than the Greek god. It may then come as little surprise that upon my first read of the story, I did not "get" it.
Though I thought the plot of the story was interesting, having been greatly intrigued by the actions of Clarke and Dr. Raymond in the opening and the ever-growing mystery of Helen Vaughan's true nature, I found myself more discomforted by the style and formatting of the story than it's content. I found the narrative was quite straight-to-the-point in many regards, skipping much fluff in favor of focusing on the letters and conversations that directly impact the plot. The story feels as if the author outlined the key plot points and stripped away transitions, leaving little room for readers to process or absorb the events. On one hand, this did contribute to a sense of confusion and urgency, but on the other, I felt that there was no period to allow for a sense of dread to settle in.
As the days passed after my initial read, the novel’s horrors grew more pronounced, lingering in my thoughts in ways I hadn’t anticipated. Like biting into a ripe pepper, the story's impact was subtle at first but gradually intensified, lingering in my thoughts long after. My confusion grew into a mild obsession, as I started to piece together the various elements.
I'll save you the time of trying to explain the various conversations and "a-ha!" moments that occurred in this period and instead provide my interpretation of the story: "The Great God Pan" represents the horror of the occult, the unknown, and the fears of the unexplainable creeping into one's life. By giving in to curiosity and toying with forbidden knowledge, you catch a fleeting view of a world beyond, in it a creature both perverse and grotesque. The door shuts and the sight of it disappears, but then it dawns on you: in that brief moment of chaos and horror, as you stared at the abomination, it glanced back. Just as you learned of its existence, it too learned of yours, and it is only then you realize the door has no lock.
In the case of this story, Mary represents the door in which the occult seeps back into our world, a consequence of Dr. Raymond's experimentation. And what comes through that door presents itself in the form of Helen, the promiscuous and mysterious woman whose presence invites corruption and death. A woman both familiar and alien, embodying a blend of allure and terror that defies explanation.
What we do learn of Helen is that those unfortunate enough to encounter her are subjected to a level of terror so beyond comprehension that it leaves its victims suicidal or mad, which the mere referencing of the encounters is enough to repulse anyone who dares listen. It is interesting to note this corruption is depicted through portrayals of implicit sexual encounters. From the perversion of a young boy, the rape of a teenage girl, and the nightly visits of prominent men, we learn that all of the victims of "Pan's" influence found themselves defiled through the most intimate of acts.
Some of these depictions may have lost their potency with time, as we must keep in mind the story was written for the audience of Victorian England, who were more reserved in their views of sexuality. There also exists some debate on whether the portrayal of women throughout the story reflects misogynistic viewpoints at the time. One such argument is that the story minimizes the value of its female characters, such as Mary, who is viewed as little more than property to do with as he pleases by Dr. Raymond. While I cannot speak to the intentions of the author, I had interpreted this to be an intentional decision to highlight the perversion of the experiment, conducted by a man who held little regard for the life of an orphaned child.
All in all, I've come to grow fonder of the story since my initial read, with it lingering in my mind for far longer than I had ever expected. It is clear to me why such a work would be so influential to a wide range of minds both in its time and today. That said, I do believe that this influence has come at a price, with over a century of literature since having implemented these themes and ideas. There are also some aspects of the book that have diminished with time, due to a shift in writing styles and a broader cultural understanding of certain topics such as sexuality.
While the story may have grown on me over time, I can easily see it falling either way for many people. If you do have an interest in the evolution of the genre or are more familiar with the cultural context of the novel, I think it's worth a read. Otherwise, you may wish to temper your expectations going into it.
Indeed, Machen had crafted a dish so foreign to the common palate of that time that the controversy it sparked comes as little surprise. Critics dismissed the work as the product of a diseased mind, intent on exposing readers to a morbid tale. Yet it captivated others, with peers such as Oscar Wilde and Bram Stoker praising the story. The spice that made this dish so repulsive to its critics was intoxicating to its supporters, inspiring them to implement its elements into their works, such as Stoker's "Dracula", H.P. Lovecraft's "The Dunwich Horror", and Stephen King's "N".
It would seem all but inevitable, then, that anyone with an inkling of curiosity in the genre may find themselves drawn back to this common origin point. In my own case, a love of Guillermo del Toro's film "Pan's Labyrinth" led me to seek out a list of its influences, which included "The Great God Pan".
Despite its renown, I approached the novella with no prior knowledge—unfamiliar with Machen, unaware of its 1890s United Kingdom setting, and even misinterpreting 'Pan' as a geological term rather than the Greek god. It may then come as little surprise that upon my first read of the story, I did not "get" it.
Though I thought the plot of the story was interesting, having been greatly intrigued by the actions of Clarke and Dr. Raymond in the opening and the ever-growing mystery of Helen Vaughan's true nature, I found myself more discomforted by the style and formatting of the story than it's content. I found the narrative was quite straight-to-the-point in many regards, skipping much fluff in favor of focusing on the letters and conversations that directly impact the plot. The story feels as if the author outlined the key plot points and stripped away transitions, leaving little room for readers to process or absorb the events. On one hand, this did contribute to a sense of confusion and urgency, but on the other, I felt that there was no period to allow for a sense of dread to settle in.
As the days passed after my initial read, the novel’s horrors grew more pronounced, lingering in my thoughts in ways I hadn’t anticipated. Like biting into a ripe pepper, the story's impact was subtle at first but gradually intensified, lingering in my thoughts long after. My confusion grew into a mild obsession, as I started to piece together the various elements.
I'll save you the time of trying to explain the various conversations and "a-ha!" moments that occurred in this period and instead provide my interpretation of the story: "The Great God Pan" represents the horror of the occult, the unknown, and the fears of the unexplainable creeping into one's life. By giving in to curiosity and toying with forbidden knowledge, you catch a fleeting view of a world beyond, in it a creature both perverse and grotesque. The door shuts and the sight of it disappears, but then it dawns on you: in that brief moment of chaos and horror, as you stared at the abomination, it glanced back. Just as you learned of its existence, it too learned of yours, and it is only then you realize the door has no lock.
In the case of this story, Mary represents the door in which the occult seeps back into our world, a consequence of Dr. Raymond's experimentation. And what comes through that door presents itself in the form of Helen, the promiscuous and mysterious woman whose presence invites corruption and death. A woman both familiar and alien, embodying a blend of allure and terror that defies explanation.
What we do learn of Helen is that those unfortunate enough to encounter her are subjected to a level of terror so beyond comprehension that it leaves its victims suicidal or mad, which the mere referencing of the encounters is enough to repulse anyone who dares listen. It is interesting to note this corruption is depicted through portrayals of implicit sexual encounters. From the perversion of a young boy, the rape of a teenage girl, and the nightly visits of prominent men, we learn that all of the victims of "Pan's" influence found themselves defiled through the most intimate of acts.
Some of these depictions may have lost their potency with time, as we must keep in mind the story was written for the audience of Victorian England, who were more reserved in their views of sexuality. There also exists some debate on whether the portrayal of women throughout the story reflects misogynistic viewpoints at the time. One such argument is that the story minimizes the value of its female characters, such as Mary, who is viewed as little more than property to do with as he pleases by Dr. Raymond. While I cannot speak to the intentions of the author, I had interpreted this to be an intentional decision to highlight the perversion of the experiment, conducted by a man who held little regard for the life of an orphaned child.
All in all, I've come to grow fonder of the story since my initial read, with it lingering in my mind for far longer than I had ever expected. It is clear to me why such a work would be so influential to a wide range of minds both in its time and today. That said, I do believe that this influence has come at a price, with over a century of literature since having implemented these themes and ideas. There are also some aspects of the book that have diminished with time, due to a shift in writing styles and a broader cultural understanding of certain topics such as sexuality.
While the story may have grown on me over time, I can easily see it falling either way for many people. If you do have an interest in the evolution of the genre or are more familiar with the cultural context of the novel, I think it's worth a read. Otherwise, you may wish to temper your expectations going into it.