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AbstractHistoryArchive Description
'It is America's most secret base, hidden deep in the Utah desert, an Air Force installation known only as Area 7. And today it has a visitor: the President of the United States. He has come to inspect Area 7, to examine its secrets for himself.
'But he's going to get more than he bargained for on this trip. Because hostile forces are waiting inside...
'Among the President's helicopter crew, however, is a young Marine. He is quiet, enigmatic, and he hides his eyes behind a pair of silver sunglasses. His name is Schofield. Call-sign: Scarecrow. Rumour has it, he's a good man in a storm. Judging by what the President has just walked into, he'd better be...'
Source: Publisher's blurb.
Notes
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Dedication: For John Schrooten, my friend.
-
Sound recording available.
Contents
* Contents derived from the
Sydney,
New South Wales,:Pan Macmillan Australia
, 2001 version. Please note that other versions/publications may contain different contents. See the Publication Details.
- An Interview with Matthew Reilly : The Writing of Area 7, single work biography (p. 487-492)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Sound recording.
Works about this Work
-
Issues of Class and Gender in Australian Crime Fiction : From the 1950s to Today
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 96-111) In this chapter, Rachel Franks notes ‘‘Australian crime fiction writers imported many types of crime fiction from Britain, including the gothic mystery and the Newgate novel, and from America, including the locked room mystery and the spy story.’ She observes how Australian crime fiction has changed along with the ‘societies that produce it.’ She concludes that for Australian crime fiction to be attractive to mass market and an assured popularity, Australian crime fiction writers must respond ‘to the changing demands of their readers,’ and ‘continue to develop the genre with increasingly sophisticated stories about murderers and those who bring them to justice.’ (Editor’s foreword xii) -
[Review] Area 7
2003
single work
review
— Appears in: Andromeda Spaceways Inflight Magazine , April/May no. 6 2003; (p. 112)
— Review of Area 7 2001 single work novel -
[Review] Area 7
2002
single work
review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 16 no. 1 2002; (p. 59)
— Review of Area 7 2001 single work novel -
[Review] Geomancer and Area 7
2002
single work
criticism
— Appears in: Viewpoint : On Books for Young Adults , Autumn vol. 10 no. 1 2002; (p. 25)
— Review of Geomancer 2001 single work novel ; Area 7 2001 single work novel -
Techno Thrills, Speedy Spills
2001
single work
review
— Appears in: The Age , 22 September 2001; (p. 9)
— Review of Area 7 2001 single work novel
-
[Review] Area 7
2003
single work
review
— Appears in: Andromeda Spaceways Inflight Magazine , April/May no. 6 2003; (p. 112)
— Review of Area 7 2001 single work novel -
Great Flying Italics! This is Exhausting
2001
single work
review
— Appears in: The Sydney Morning Herald , 1-2 September 2001; (p. 14)
— Review of Area 7 2001 single work novel -
High-Powered Romp
2001
single work
review
— Appears in: The Advertiser , 15 September 2001; (p. 23)
— Review of Area 7 2001 single work novel -
Techno Thrills, Speedy Spills
2001
single work
review
— Appears in: The Age , 22 September 2001; (p. 9)
— Review of Area 7 2001 single work novel -
[Review] Geomancer and Area 7
2002
single work
criticism
— Appears in: Viewpoint : On Books for Young Adults , Autumn vol. 10 no. 1 2002; (p. 25)
— Review of Geomancer 2001 single work novel ; Area 7 2001 single work novel -
Issues of Class and Gender in Australian Crime Fiction : From the 1950s to Today
2012
single work
criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 96-111) In this chapter, Rachel Franks notes ‘‘Australian crime fiction writers imported many types of crime fiction from Britain, including the gothic mystery and the Newgate novel, and from America, including the locked room mystery and the spy story.’ She observes how Australian crime fiction has changed along with the ‘societies that produce it.’ She concludes that for Australian crime fiction to be attractive to mass market and an assured popularity, Australian crime fiction writers must respond ‘to the changing demands of their readers,’ and ‘continue to develop the genre with increasingly sophisticated stories about murderers and those who bring them to justice.’ (Editor’s foreword xii)
Last amended 29 Jun 2020 14:25:45
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