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AbstractHistoryArchive Description
'Ex-cop Kerry Staines wanted a
fresh start. What he found in the little
town of Mallen
was ... The
Site - cursed for 10 000 years. A place
where black legends and white spirits meet. Where a young girl lies murdered, her soul
restless while the guilty go unpunished. Where a maximum security prison is planned, on ground that holds the
town's shocking secrets.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
The Australian Horror Novel Since 1950
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 112-127) According to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii) -
Reviews
1996
single work
review
— Appears in: Aurealis : Australian Fantasy & Science Fiction , no. 17 1996; (p. 74-75)
— Review of The Site 1996 single work novel
-
Reviews
1996
single work
review
— Appears in: Aurealis : Australian Fantasy & Science Fiction , no. 17 1996; (p. 74-75)
— Review of The Site 1996 single work novel -
The Australian Horror Novel Since 1950
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 112-127) According to James Doig the horror genre 'was overlooked by the popular circulating libraries in Australia.' In this chapter he observes that this 'marginalization of horror reflects both the trepidation felt by the conservative library system towards 'penny dreadfuls,' and the fact that horror had limited popular appeal with the British (and Australian) reading public.' Doig concludes that there is 'no Australian author of horror novels with the same commercial cachet' as authors of fantasy or science fiction. He proposes that if Australian horror fiction wants to compete successfully 'in the long-term it needs to develop a flourishing and vibrant small press contingent prepared to nurture new talent' like the USA and UK small presses.' (Editor's foreword xii)
Last amended 24 Aug 2021 14:14:32
Settings:
- Queensland,
- 1990s
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