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'Alex doesn't know what he wants to do, how to connect with people or what's good for him. He drifts his way through dead-end jobs and fumbled relationships, unable to find a way out of the rut his life has become. Then he runs into Madigan Sargood and everything changes.
'A ray of light shining from an almost-forgotten past, Madigan is beautiful and impulsive, enigmatic and passionate beyond measure. This is what it means to live, Alex realises, and to love. Never mind that she can be somewhat possessive. Never mind that his best friend thinks there's something wrong with her, something dangerous even. Never mind that the creepy band of misfits she attracts have all but taken over his home. Madigan fills Alex's life with significance; he will put up with anything to be with her.
'Until, without any warning, she kills herself.
'Now Alex can't seem to get her out of his head, and his world - along with his sanity - begins to disintegrate. Black outs and missing time, conversations he can't recall, people he can't remember. Is this the product of a diseased and lovesick mind, or can Madigan really be trying to communicate with him?
'When the past threatens to obliterate the future, Alex is forced to take action. To save himself and those he loves, he must discover the sinister reason why Madigan took her own life - and why she won't lie still in her grave.' (From the publisher's website.)
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
2010
single work
review
— Appears in: Andromeda Spaceways Inflight Magazine , no. 46 2010; (p. 109)
— Review of Madigan Mine 2010 single work novel -
Untitled
2010
single work
review
— Appears in: Australian Book Review , December 2010 - January 2011 no. 327 2010; (p. 70)
— Review of Madigan Mine 2010 single work novel -
Pick of the Week
2010
single work
review
— Appears in: The Age , 3 July 2010; (p. 24)
— Review of Madigan Mine 2010 single work novel
-
Pick of the Week
2010
single work
review
— Appears in: The Age , 3 July 2010; (p. 24)
— Review of Madigan Mine 2010 single work novel -
Untitled
2010
single work
review
— Appears in: Australian Book Review , December 2010 - January 2011 no. 327 2010; (p. 70)
— Review of Madigan Mine 2010 single work novel -
Untitled
2010
single work
review
— Appears in: Andromeda Spaceways Inflight Magazine , no. 46 2010; (p. 109)
— Review of Madigan Mine 2010 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)
Awards
- 2011 winner Chronos Awards — Best Long Fiction
- 2011 shortlisted Ditmar Awards — Best Novel
- 2010 finalist Australian Shadows Award — Paul Haines Award for Long Fiction
- 2010 winner Aurealis Awards for Excellence in Australian Speculative Fiction — Horror Division — Best Novel