The Great God Pan
What is now the first chapter of the novella was published in 1890 in a magazine called "The Whirlwind", while what is now the third chapter of the book was published in the same magazine the following year as a standalone short story called "The City of Resurrections". Machen only viewed the two works as connected after they were finished. Once he decided the two stories were connected, Machen wrote the rest of "The Great God Pan" in a single evening save for its final chapter. Machen did not think of an ending for the tale for months, and in that time believed that the novella would remain unfinished forever. The last chapter was completed in June 1891. Machen sent the novella to the publisher Blackwood, who rejected it, deeming it a clever story that "shrink[s]...from the central idea." It was accepted by John Lane and published in 1894. When published as a book, "The Great God Pan" was accompanied by another Machen tale called "The Inmost Light" which also features a mad scientist and elements of science fiction. The book's cover was illustrated by Aubrey Beardsley.
León de Greiff
A group of 13 young bohemian artist and writers that formed during that time became known as "los Panidas", named after the god Pan, and included future prominent figures in the Literature of Colombia such as de Greiff and Fernando González. The panidas were influenced by the modernist movement in literature, which in Latin America became known as "modernismo ". This movement aimed to reclaim the already established European standards of art and literature and give it a modern and local character; the panidas thus became the precursors of modernism in Colombia, transforming the foreign and strange into local and tangent. De Greiff often exposed Colombian audiences this way, for example to the mystic land of Vikings and fjords by giving it a familiar "antioqueño" feel, a combination of the two worlds that were part of de Greiff’s life He also became known for his eclectic use of the language often using a lexicon so unfamiliar to most Spanish speaking audiences of that time that it would sound as if it were a foreign language, and introduced references to obscure or unknown authors and works of art and literature that were not part of standard curricula. Also present in de Greiff’s and the panida’s work was the influence of symbolism, and more significant that of parnassiastic thought, of creating poetry in its purest form to more closely resemble art. De Greiff described the purpose of the panidas in these words:
The artistic group published a quincenal literary magazine called "Panida" in February 1915. This short lived publication of only ten issues was illustrated by Ricardo Rendón first directed by de Greiff, and later by Félix Mejía Arango. De Greiff had its works published for the first time in this magazine under the nom de plume "Leo le Gris", the first one being his "Ballad of the Mad Owls".