It’s been said that George Miller was so impressed with this novelization of MAD MAX that he hired its writer to co-script THE ROAD WARRIOR
This isn’t the greatest movie director memoir I’ve ever read, but it is a vital one
Here it is, the first installment of my “Bedlam in Print” overview of the previous year’s publishing output.
It was the first novel by Australia’s Gabrielle Lord, who based the story on an actual crime that occurred in Australia.
FEAR IS THE RIDER also contains a great deal of Cook’s celebrated descriptive power, although that’s ultimately about the only thing it really has in its favor.
This Australian vampire thriller from the late seventies is an above average example of its type. It may not have a whole lot going for it cinematically, but is worth seeing due to a uniquely perverse script that wickedly updates the vampire myth to the eighties and beyond.
Hard, mean, no-nonsense horror from Down Under, proving that Aussie-sploitation is alive and well. It’s too bad, though, about that crummy ending!
This is smart person’s horror. CLOWNS AT MIDNIGHT is the first-ever horror novel by Australia’s Terry Dowling, a short story scribe and veteran editor. His intelligence and voluminous knowledge of the genre are evident in this highly provocative account. The book is never self conscious or obscure, but getting through it takes a fair amount of thought and patience.
With this outrageous novel Australia’s late Kenneth Cook turned out his finest work since WAKE IN FRIGHT. That 1961 novel, for those who don’t know, contained an unforgettably rancid portrayal of Australian lowlife that remains unsurpassed–well, almost unsurpassed, as the short and sharp BLOODHOUSE imparts an even grungier fictional portrait of the land down under.
Australia’s late Kenneth Cook is one of the world’s great neglected writers.