y separately published work icon The Devil's Numbers single work   novel   horror  
Issue Details: First known date: 1997... 1997 The Devil's Numbers
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Notes

  • Dedication: For my mother, Nancy May Francis.

Publication Details of Only Known VersionEarliest 2 Known Versions of

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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 Bill Congreve , 1997 single work review
— Appears in: Aurealis : Australian Fantasy & Science Fiction , no. 19 1997; (p. 77)
— Review of The Devil's Numbers G. M. Hague , 1997 single work novel
Untitled Bill Congreve , 1997 single work review
— Appears in: Aurealis : Australian Fantasy & Science Fiction , no. 19 1997; (p. 77)
— Review of The Devil's Numbers G. M. Hague , 1997 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)
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Last amended 6 May 2004 13:43:47
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  • 1910s
  • 1990s
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