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AbstractHistoryArchive Description
This collection of horror stories includes 'The Mummy's Curse' (James Workman), 'The Ghost of a Hand' (Sheridan Le Fanu), 'Sir Dominick's Bargain' (Sheridan Le Fanu), 'To Be Taken with a Grain of Salt' (Charles Dickens), 'A Horseman in the Sky' (Ambrose Bierce), 'The Suitor of Selkirk' (anon), 'How the Third Floor Knew the Potteries' (Amelia B. Edwards), 'Whistler's Mother' (D.W. Preston), and 'The Cask of Amontillado' (Edgar Allan Poe).
Contents
* Contents derived from the
Sydney,
New South Wales,:Horwitz
, 1962 version. Please note that other versions/publications may contain different contents. See the Publication Details.
- The Mummy's Curse, single work short story horror (p. 9-24)
- The Ghost of a Hand, single work short story horror (p. 25-33)
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)
-
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 15 Apr 2016 15:19:20
