https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15905 Wed 11 Apr 2018 15:42:07 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8636 Wed 11 Apr 2018 11:09:29 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:39550 Tue 26 Jul 2022 11:29:53 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16024 Sat 24 Mar 2018 08:19:31 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16023 Sat 24 Mar 2018 08:19:30 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:19336 Sat 24 Mar 2018 07:52:13 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:5155 Sat 24 Mar 2018 07:49:42 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26472 Pas d'orchidées pour Miss Blandish still resonates today. But it seems fair to say that it is this French title, as opposed to the 'original' English, that still has currency, and specifically in the contexts of French Studies and, in the public space, among those fans who frequent such bookshops as Paris's famous L'Amour du noir. This French face of James Hadley Chase's first novel has to all intents and purposes outperformed its original English avatar in both public and esoteric circles alike. Yet, despite this relative decline in recognition, the English version continues to exist, and furthermore continues to change shape, as if in response to a market demand, however virtual this may be.]]> Sat 24 Mar 2018 07:27:15 AEDT ]]>