y separately published work icon Vampires in the Sunburnt Country series - author   novel  
Issue Details: First known date: 2012... 2012 Vampires in the Sunburnt Country
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Includes

1
y separately published work icon Blood and Dust Jason Nahrung , Sydney : Xoum , 2012 6193702 2012 single work novel horror

'Kevin Matheson works at his family’s service station in the Queensland outback. Life is all about cricket, fishing, the pub, his girlfriend. Then it all gets blown to hell – Kevin is caught up in a hideous, unbelievable world of cops and monsters in which two rival gangs of vampires vie for control, all while maintaining a charade of humanity.

Kevin has to adapt to the destruction of his family and play the politics of the supernatural world. The biker Taipan and his lover Kala make for unlikely allies as they lead the nomadic Night Riders in their fight to be free of the control of the Brisbane-based Von Schiller group, led by the ruthless Mira and her pack of blood-addicted human servants.

Caught between vicious bikers and their brutal foes from the coast, Kevin fights to save not only those he holds dearest, but his own soul. In a world without rules, only one thing holds true – blood really is thicker than water' [Source: Xoum website]
2
y separately published work icon The Big Smoke Jason Nahrung , Bittern : Clan Destine Press , 2015 9450729 2015 single work novel horror

'Kevin Matheson is coming to Brisbane with revenge on his mind. Even for a vampire, there is no time like the present.

'He has a score to settle with Mira, the sadistic killer who tore his life in outback Queensland apart.

'For Mira’s bodyguard, Reece, worn out and fading a little more each day, the present is all he has.

'He is determined to spend it protecting his mistress, for better or worse.

'But, as the two men head for a collision, the vampires of Brisbane have their own plans – plans that will lead Kevin and Reece down roads they never expected to travel.

'And at the end of the line, at the intersection of loyalty and vengeance, both face the question: who are they willing to sacrifice to win the war?'

Source: Publisher's blurb.

Publication Details of Only Known VersionEarliest 2 Known Versions of

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Works about this Work

Aboriginal Australian Vampires and the Politics of Transmediality Naomi Simone Borwein , 2019 single work criticism
— Appears in: The Global Vampire : Essays on the Undead in Popular Culture Around the World 2019; (p. 165-176) Sucking vampiric winds, cannibalistic red-skinned monsters, and demonic autophagic silhouettes and shadows exist in contemporary Aboriginal Australian horror and Gothic texts. Figures based on myth, they have names like Namorrados, Yara-ma-tha-who, Gherawhar, or Quinkan, and they bear some striking similarities to Western vampires. The fluidity of the vampiric image in Aboriginal Australia is heightened by its transformation across media and complicated by racial and cultural controversies. This essay is a transmedial analysis of the Australian Aboriginal vampire that traces its adaptations from orality to ink, and from celluloid to digitization. Both Indigenous and White Australian visions of the vampiric shape-shifter have permeated Australian narratives and media. In the 1990s, Alan McKee stated that in Australia "there is no readily accessible 'backfella' tradition of zombies and vampires:' as conventional Western figures in film (1997a, 123); this is still the case. Productions like The Zombie Brigade (1986) show vampiric contamination of an Indigenous community, and by proxy the continued intrusion or incorporation of classic vampires with Aboriginal myths. On page, the Aboriginal vampire is recreated by self-identifying Indigenous Australians in modern texts such as Mudrooroo's Vampire trilogy (1990-1998), D. Bruno Starrs' That Blackfella Bloodsucka Dance! (2011), or Raymond Gates's "The Little Red Man" (2013). It also appears in Australian vampire fiction like Jason Nahrung's Vampires in the Sunburnt Country series (2012-2016). By surveying the figure as it has filtered across media, I analyze its transformations in relation to transmedialitv and theories of adaptation espoused by scholars like Jens Eder and Linda Hutcheon. Significant variations in the Aboriginal vampire are visible in relation to the scientific apparatus of horror, the Antipodean footprint of Bram Stoker, and shadow and light in the Sunburnt Country. Each permutation reflects transitions in cultural context and from literary to multimedia traditions. Thus, after explicating a critical approach, this essay delineates the transformation of the Aboriginal Australian vampire in various White and Indigenous productions, taking into account the politics of transmediality. Underlying such an analysis is the issue of cultural identity . and appropriation, which feeds into the metamorphic quality of Aboriginal Australian vampires in textual and digital forms.' (Introduction) 

 
Aboriginal Australian Vampires and the Politics of Transmediality Naomi Simone Borwein , 2019 single work criticism
— Appears in: The Global Vampire : Essays on the Undead in Popular Culture Around the World 2019; (p. 165-176) Sucking vampiric winds, cannibalistic red-skinned monsters, and demonic autophagic silhouettes and shadows exist in contemporary Aboriginal Australian horror and Gothic texts. Figures based on myth, they have names like Namorrados, Yara-ma-tha-who, Gherawhar, or Quinkan, and they bear some striking similarities to Western vampires. The fluidity of the vampiric image in Aboriginal Australia is heightened by its transformation across media and complicated by racial and cultural controversies. This essay is a transmedial analysis of the Australian Aboriginal vampire that traces its adaptations from orality to ink, and from celluloid to digitization. Both Indigenous and White Australian visions of the vampiric shape-shifter have permeated Australian narratives and media. In the 1990s, Alan McKee stated that in Australia "there is no readily accessible 'backfella' tradition of zombies and vampires:' as conventional Western figures in film (1997a, 123); this is still the case. Productions like The Zombie Brigade (1986) show vampiric contamination of an Indigenous community, and by proxy the continued intrusion or incorporation of classic vampires with Aboriginal myths. On page, the Aboriginal vampire is recreated by self-identifying Indigenous Australians in modern texts such as Mudrooroo's Vampire trilogy (1990-1998), D. Bruno Starrs' That Blackfella Bloodsucka Dance! (2011), or Raymond Gates's "The Little Red Man" (2013). It also appears in Australian vampire fiction like Jason Nahrung's Vampires in the Sunburnt Country series (2012-2016). By surveying the figure as it has filtered across media, I analyze its transformations in relation to transmedialitv and theories of adaptation espoused by scholars like Jens Eder and Linda Hutcheon. Significant variations in the Aboriginal vampire are visible in relation to the scientific apparatus of horror, the Antipodean footprint of Bram Stoker, and shadow and light in the Sunburnt Country. Each permutation reflects transitions in cultural context and from literary to multimedia traditions. Thus, after explicating a critical approach, this essay delineates the transformation of the Aboriginal Australian vampire in various White and Indigenous productions, taking into account the politics of transmediality. Underlying such an analysis is the issue of cultural identity . and appropriation, which feeds into the metamorphic quality of Aboriginal Australian vampires in textual and digital forms.' (Introduction) 

 
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Last amended 7 Apr 2016 14:08:46
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