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'Meg lives alone. A little place in the bush outside town. A perfect place to hide. That's one of the reasons she offers to shelter Nerine, who's escaping a violent ex. The other is that Meg knows what it's like to live with an abusive partner.
'Nerine is jumpy and her two little girls are frightened. It tells Meg all she needs to know about where they've come from and she's not that surprised when Nerine asks her to get hold of a gun. But she knows it's unnecessary. They're safe now.
'Then she starts to wonder about some little things. A disturbed flyscreen. A tune playing on her windchimes. Has Nerine's ex tracked them down? Has Meg's husband turned up to torment her some more?
'By the time she finds out it'll be too late to do anything but run for her life.' (Publication summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Sound recording.
Works about this Work
-
Shelter by Catherine Jinks Review : Frenetic Outback Thriller from a Masterful Storyteller
2021
single work
review
— Appears in: The Guardian Australia , 15 January 2021;
— Review of Shelter 2021 single work novel -
Distinctive Voices : Three New Crime Novels
2021
single work
review
— Appears in: Australian Book Review , May no. 431 2021; (p. 32-33)
— Review of The Spiral 2021 single work novel ; Ash Mountain 2020 single work novel ; Shelter 2021 single work novel'For this reviewer, the sign of a healthy crime-fiction ecosystem isn’t merely the success of the ‘big names’ but also the emergence of writers whose voices are so distinctive as to be singular. Sometimes these writers become commercially successful in their own right, and sometimes they remain literary outliers, drawing their readership from a smaller but avid following. When I think of the health of American crime fiction in the late 1960s and early 1970s, I recall not only the success of Mario Puzo, but also the kind of writing culture that sustained the dark vision of an author such as George V. Higgins. The same goes for Britain in the 1980s, where Dick Francis was still publishing prolifically when Derek Raymond emerged. Turning to twenty-first-century America and the success of writers like Michael Connelly and Karin Slaughter, it’s the rise of Megan Abbott and Richard Price that illustrates the full potential of that culture’s capacity for crime storytelling.' (Introduction)
-
Distinctive Voices : Three New Crime Novels
2021
single work
review
— Appears in: Australian Book Review , May no. 431 2021; (p. 32-33)
— Review of The Spiral 2021 single work novel ; Ash Mountain 2020 single work novel ; Shelter 2021 single work novel'For this reviewer, the sign of a healthy crime-fiction ecosystem isn’t merely the success of the ‘big names’ but also the emergence of writers whose voices are so distinctive as to be singular. Sometimes these writers become commercially successful in their own right, and sometimes they remain literary outliers, drawing their readership from a smaller but avid following. When I think of the health of American crime fiction in the late 1960s and early 1970s, I recall not only the success of Mario Puzo, but also the kind of writing culture that sustained the dark vision of an author such as George V. Higgins. The same goes for Britain in the 1980s, where Dick Francis was still publishing prolifically when Derek Raymond emerged. Turning to twenty-first-century America and the success of writers like Michael Connelly and Karin Slaughter, it’s the rise of Megan Abbott and Richard Price that illustrates the full potential of that culture’s capacity for crime storytelling.' (Introduction)
-
Shelter by Catherine Jinks Review : Frenetic Outback Thriller from a Masterful Storyteller
2021
single work
review
— Appears in: The Guardian Australia , 15 January 2021;
— Review of Shelter 2021 single work novel
Awards
- 2022 shortlisted The Danger Prize
- 2022 shortlisted Davitt Award — Best Adult Crime Novel
