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y separately published work icon Slights single work   novel   horror  
Issue Details: First known date: 2009... 2009 Slights
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AbstractHistoryArchive Description

'STEVIE IS A KILLER.

'But she brings her victims back to life to demand of them: "WHAT DO YOU SEE?"

'Now she's about to find out for herself...

'After an accident in which her mother dies, Stevie has a near-death experience, and finds herself in a room full of people - everyone she's ever annoyed. They clutch at her, scratch and tear at her. But she finds herself drawn back to this place, again and again, determined to unlock its secrets. Which means she has to die, again and again. And Stevie starts to wonder whether other people see the same room... when they die.'

Source: Publisher's blurb.

Notes

  • Dedication: For Mitchell, Nadia...and Graham, because I said I would.
  • Author's note: I envy Stalin. I wish I had the power to re-write history and my part in it. I would change so much. I would die only once, and I would not kill my mother. And my father would leave me a message; he would speak a meaningful sentence before going to work to be shot. That would be my story, if I could change history.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Angry Robot ,
      2009 .
      image of person or book cover 1553339889046034864.jpg
      Image courtesy of publisher's website.
      Extent: 502p.
      ISBN: 0007322429 (pbk.), 9780007322428 (pbk.)

Works about this Work

The Australian Horror Novel Since 1950 James Doig , 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 Keith Stevenson , 2010 single work review
— Appears in: Aurealis : Australian Fantasy and Science Fiction , no. 44 2010; (p. 137-139)

— Review of Slights Kaaron Warren , 2009 single work novel
Fiction Books Jason Nahrung , 2009 single work review
— Appears in: The Courier-Mail , 5 - 6 September 2009; (p. 22)

— Review of Slights Kaaron Warren , 2009 single work novel
Take Three Colin Steele , 2009 single work review
— Appears in: Sunday Canberra Times , 6 September 2009; (p. 26)

— Review of Slights Kaaron Warren , 2009 single work novel
Take Three Colin Steele , 2009 single work review
— Appears in: Sunday Canberra Times , 6 September 2009; (p. 26)

— Review of Slights Kaaron Warren , 2009 single work novel
Fiction Books Jason Nahrung , 2009 single work review
— Appears in: The Courier-Mail , 5 - 6 September 2009; (p. 22)

— Review of Slights Kaaron Warren , 2009 single work novel
Untitled Keith Stevenson , 2010 single work review
— Appears in: Aurealis : Australian Fantasy and Science Fiction , no. 44 2010; (p. 137-139)

— Review of Slights Kaaron Warren , 2009 single work novel
The Australian Horror Novel Since 1950 James Doig , 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 30 May 2017 10:28:00
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