“Hare’s Fur is a tale of convalescence, a restrained, moving story about how we discover new meaning in the wake of anguish…Hare’s Fur is about the inevitable reconfiguring of a life. It shows us that, like Kintsugi, the Japanese art of repairing broken pottery with seams of gold, we too can mend ourselves, we too can reconnect our pieces.”
—Jack Callil, Australian Book Review
“With luminous prose and ekphrasis, Shearston depicts the ubiquitously relatable challenge of handling change in everyday life. Hare’s Fur is a poignant story of the literal and figurative pottery of trust, friendship and new beginnings, dirty hands and all.”
—Jeremy George, Readings Booksellers
“At once touching and exuding charm, this still manages to pack a punch. It’s a study of what can grow from trust and caring despite grief and misfortune, that no matter what stage of life a person is at, rebirth can be unexpected and come in many forms…uplifting and satisfying.” FOUR STARS
—Scott Whitmont, Books+Publishing
“The descriptions of landscape, on the plateaus as well as in the deep valleys, have the ring of truth about them that only comes from years of walking the area.”
—Good Reading
“It’s a gentle tale about grief, hope, love and kindness…The elegance of this novel is in the unfolding; it is in the way each of the characters comes to trust the possibility of a future.”
—Laura Kroetsch, Adelaide Advertiser
“This short novel could well become that literary holy grail: the successful young adult/adult crossover. It would also be a fascinating addition to state high school curriculums. The author of nine novels, Shearston is a fine stylist and an assured storyteller.”
—Mandy Sayer, Weekend Australian
“A wonderful novel.”
—Jenny Barry, Co-organiser of Bathurst Writers’ and Readers’ Festival, Western Times Bathurst
“This is a meditative novel about grief, work, loneliness, trust, and dealing with fragility, whether in pots or in children. Trevor Shearston is meticulous in recording the complexity and detail of Russell’s craft, and the unfolding of the plot is moving without ever sinking into sentimentality.”
—Kerryn Goldsworthy, Sydney Morning Herald
