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Notes
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Other imprints include: Danish, 1975.
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This anthology contains extracts of 'ghost' stories by a number of Australian authors including:
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Dedication: For Clark with love
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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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) -
Untitled
1973
single work
review
— Appears in: Reading Time : New Books for Boys and Girls , July no. 48 1973; (p. 30-31)
— Review of Shudders and Shakes : Ghostly Tales from Australia 1974 anthology children's fiction extract
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Untitled
1973
single work
review
— Appears in: Reading Time : New Books for Boys and Girls , July no. 48 1973; (p. 30-31)
— Review of Shudders and Shakes : Ghostly Tales from Australia 1974 anthology children's fiction extract -
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 3 Mar 2010 10:57:49
