Maxine Relton (artist):
“Your captivating book had me utterly enthralled, laughing and weeping by turn, touched as much by the terror of your childhood operations as by the profound pleasure you discovered in film editing....
“I have often known, on finishing a book I’ve enjoyed, that I would return to it at some later date. In reading the last lines of yours, I felt for the first time a strong desire to turn back to the beginning right away and start your story all over again. There were such insights, profound reflections, richness in the writing, that I wanted to keep close, renew, take more time over.”
David Harris (theatre director):
“I did not want ‘The Eye of the Hare’ to ever end. Congratulations on writing an original biography with a unique structure that shouldn’t but does work. As with the greatest authors, you write to the senses with deep-seated truth.
“Intuitively you cut and splice your raw memories into a magical illogical logical sequence of edits cleverly juxtaposing fast and slow, light and dark, pastoral and domestic, work with play, past with present. In short, a stunning edited documentary, which glues you to the page.
“This work deserves to achieve a wider audience. It would be an inspiration to all those seeking a career in the Arts. “
David Attenborough (broadcaster):
“How very kind of you to send me a copy of ‘The Eye of the Hare’. I have, as instructed, read pages 252-255 (about David’s film ‘Charles Darwin and The Tree of Life’) and am very flattered by what I found. It was an important film – certainly for me – and everything you write about it is, in my eyes, extremely complimentary. So of course I could have no possible reaction except to thank you for it.”
Jonathan Stedall (film maker):
“I've just spent a very enjoyable afternoon finishing your book; it is a great achievement! In particular I like the bold way you have constructed it. Our memory, our inner life is not linear, and the book is especially compelling because you have honoured that fact.
“What you write about the technique not just of editing, but of documentary film-making altogether, is very wise and important - particularly your highlighting of the increasing pressure to eliminate pauses (less and less time and encouragement in all areas of life to simply 'stand and stare'). “
Brian Leith (film maker):
“I've read your book and just wanted to tell you how much I've enjoyed it. The combination of personal and professional stories you weave together is very engaging and you manage to change gear between these very different perspectives effortlessly. You're a great writer!
“Although I've known you for over 20 years, this is the first time I've appreciated what it must have been like growing up with such a potentially devastating injury as what happened to your hands... And the story of your conversation with your mother about that was very touching. I loved your perspective on editing - and the resonances with painting (and your father) and dress-making - and indeed life itself - were intriguing. And I loved the ubiquitous presence of your 'home turf' - the setting in Gloucestershire.
“It's very readable. Your readers want more!” Jane Ridley (actor):
“I loved the book. It was the perfect braid of your youth, your work and the present perspective on both and all written and edited almost like a film. The cutting away from one to the other had a carryover resonance.
“The humanity, the clarity of image in the descriptions, the clear love for art, family, community shines through. I found myself weeping at points and laughing too..”
Andy Wilson (musician):
“I love the way you have woven the threads of work and life and memories into a non linear narrative that feels like a very nicely knitted woolly jumper. Congratulations.”
