image of person or book cover 4781241033334682209.jpg
Image courtesy of Theodore Hristakos
y separately published work icon One Brass Star single work   novel   western  
Issue Details: First known date: 1961... 1961 One Brass Star
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Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Sydney, New South Wales,: Cleveland , 1961 .
      image of person or book cover 4781241033334682209.jpg
      Image courtesy of Theodore Hristakos
      Extent: 114p.
      Series: Cleveland Western Cleveland (publisher), series - publisher novel western

      Before number 533, westerns published as part of this series did not include the 'Cleveland Western' logo, and were interspersed with non-westerns (mostly crime). After volume 600, all further volumes were westerns.

      This series begins with volume 533. Volumes before that are included in the Cleveland Book series, which includes both crime and westerns. Gaps in this series between 533 and 600 are books in genres other than westerns; these books are includes in the Cleveland Book series.

             Number in series: 834
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Works about this Work

Crikey it’s Bromance : A History of Australian Pulp Westerns Toni Johnson-Woods , 2012 single work criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 141-161) ‘The Australian version of the Western novel is the subject matter of Toni Johnson-Woods’ chapter. Western as a genre was present in Australia since colonial times – a ‘romance of property’ (Dixon 22). She takes up Len Meares, the man behind Marshall Grover as her case study. Perhaps the most intriguing part of her chapter is the study of book covers, as she argues that ‘books are more than printed codex; they are cultural products with covers, advertising, pricing and distribution.’ For Johnson-Woods, “the covers are semiotically charged marketing tools; the artwork, design and titles emit generic and cultural messages.” Australian Western authors, some of the most prolific authors, have been writing not only for an Australian readership but also for an international one. In conclusion Johnson-Woods laments that “I doubt if you’ll shake their hands or sign their books at writers’ festivals. It is not that they are not likeable people. They are tainted with a fatal literary disease, they’re carriers of the popular fiction virus. And even more condemning, they do not even write ‘respectable’ popular fiction like detective fiction – they write politically incorrect masculinist westerns. Regardless of how literary critics assess their contribution to Australian fiction, they provide hours of entertainment for their many readers.”’ (Editor’s foreword xiii)
Crikey it’s Bromance : A History of Australian Pulp Westerns Toni Johnson-Woods , 2012 single work criticism
— Appears in: Sold by the Millions : Australia's Bestsellers 2012; (p. 141-161) ‘The Australian version of the Western novel is the subject matter of Toni Johnson-Woods’ chapter. Western as a genre was present in Australia since colonial times – a ‘romance of property’ (Dixon 22). She takes up Len Meares, the man behind Marshall Grover as her case study. Perhaps the most intriguing part of her chapter is the study of book covers, as she argues that ‘books are more than printed codex; they are cultural products with covers, advertising, pricing and distribution.’ For Johnson-Woods, “the covers are semiotically charged marketing tools; the artwork, design and titles emit generic and cultural messages.” Australian Western authors, some of the most prolific authors, have been writing not only for an Australian readership but also for an international one. In conclusion Johnson-Woods laments that “I doubt if you’ll shake their hands or sign their books at writers’ festivals. It is not that they are not likeable people. They are tainted with a fatal literary disease, they’re carriers of the popular fiction virus. And even more condemning, they do not even write ‘respectable’ popular fiction like detective fiction – they write politically incorrect masculinist westerns. Regardless of how literary critics assess their contribution to Australian fiction, they provide hours of entertainment for their many readers.”’ (Editor’s foreword xiii)
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Last amended 15 Jul 2021 10:40:05
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