From ancient myth to contemporary art and literature, a beguiling look at the many incarnations of the mischievous—and culturally immortal—god Pan, now in paperback. Pan—he of the cloven hoof and lustful grin, beckoning through the trees. From classical myth to modern literature, film, and music, the god Pan has long fascinated and terrified the western imagination. “Panic” is the name given to the peculiar feeling we experience in his presence. Still, the ways in which Pan has been imagined have varied wildly—fitting for a god whose very name the ancients confused with the Greek word meaning “all.” Part-goat, part-man, Pan bridges the divide between the human and animal worlds. In exquisite prose, Paul Robichaud explores how Pan has been imagined in mythology, art, literature, music, spirituality, and popular culture through the centuries. At times, Pan is a dangerous, destabilizing force; sometimes, a source of fertility and renewal. His portrayals reveal shifting anxieties about our own animal impulses and our relationship to nature. Always the outsider, he has been the god of choice for gay writers, occult practitioners, and New Age mystics. And although ancient sources announced his death, he has lived on through the work of Arthur Machen, Gustav Mahler, Kenneth Grahame, D. H. Lawrence, and countless others. Pan: The Great God’s Modern Return traces his intoxicating dance.

The Great God Pan is a 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 magazine The Whirlwind in 1890. Machen later extended The Great God Pan and it was published as a book alongside another story, "The Inmost Light", in 1894. The novella begins with an experiment to allow a woman named Mary to see the supernatural world. This is followed by an account of a series of mysterious happenings and deaths over many years surrounding a woman named Helen Vaughan. At the end, the heroes confront Helen and force her to kill herself. She undergoes a series of supernatural transformations before dying and she is revealed to be the child of Mary and the god Pan.

Arthur Machen's "The Inmost Light" is a chilling tale of horror and the supernatural. This English horror story delves deep into the realms of the paranormal, gripping readers with its eerie narrative. Machen's mastery in crafting suspenseful tales is evident throughout. The story's dark undertones and unexpected twists ensure a haunting reading experience.

Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era's most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art's "Americans" exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.

"The Great God Pan is a 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 magazine The Whirlwind in 1890. Machen later extended The Great God Pan and it was published as a book alongside another story, ""The Inmost Light"", in 1894. The novella begins with an experiment to allow a woman named Mary to see the supernatural world. This is followed by an account of a series of mysterious happenings and deaths over many years surrounding a woman named Helen Vaughan. At the end, the heroes confront Helen and force her to kill herself. She undergoes a series of supernatural transformations before dying and she is revealed to be the child of Mary and the god Pan."

Mischievous from the moment he emerges howling and screeching from his mother's womb, Pan, god of the wild, creates pandemonium wherever he goes. Noise and confusion follow him as he steals arrows from Artemis, conceives panic, tricks the moon into falling in love with him, and saves the world from the monster, Typhon. With panache and a wicked pair of horns, Pan spreads chaos and laughter on the way to becoming Mount Olympus's most lovable pest. From Mordicai Gerstein, Caldecott Medal-winning author of The Man Who Walked Between the Towers, comes an irresistible picture book about Greek mythology's wildest, wackiest god. Gerstein's high-spirited paintings and rollicking sense of humor create an accessible introduction to an unforgettably vivacious hero.

The Great God Pan" is a novella written by Arthur Machen. A version of the story was published in the magazine Whirlwind in 1890, and Machen revised and extended it for its book publication (together with another story, "The Inmost Light") in 1894. On publication it was widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, although it has since garnered a reputation as a classic of horror. Machen's story was only one of many at the time to focus on Pan as a useful symbol for the power of nature and paganism. The title was taken from the poem "A Musical Instrument" published in 1862 by Elizabeth Barrett Browning, in which the first line of every stanza ends "... the great god Pan.