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In one sense, the publisher’s blurb on this novel says it all.

Just before the publication of her novel Dark Places in 1994, Kate Grenville said that she was thinking about her next book, ‘a heart-warming old-fashioned love story’. Well, The Idea of Perfection – and isn’t that what all love stories are about? – is that love story, though it warms both heart and head, for the bliss it affords is not so much visceral as aesthetic, even architectural.

I was tempted to do a wicked thing when writing about Between the Fish and the Mud Cake: to take its subjects and describe my experiences with them. So I would tell you all about my lunch with Georges Perec at the French Embassy in Canberra. What he said, and I said, and the ambassador said, and what I made of it all. The book mentions touring with Carmel Bird; I could describe my friendship with her. But Andrew Riemer is not that sort of reviewer, and his book is much too interesting in itself to be one-upped like that.

Andrea Goldsmith’s second novel, Modern Interiors, is about a family, and marked out by its goodies and baddies. This is a moral novel about capitalism and the choices open to people within its system. Goldsmith uses outrageous caricatures to represent the baddies – those seduced and corrupted by the family’s damned money. And all of the goodies have an interest in and strenuously pursue the higher knowledges – poetry and fiction, philosophy and philanthropy. They are all good, and fair-minded people, if sometimes with too much sweetness and light.

There are now 10,000 books written about Auschwitz. About the Holocaust there must be many more tens of thousands. Lily Brett is one of the great readers and collectors of these books. Her novels and poems are awash with Holocaust details and with an obsessive sense of responsibility for this impossible knowledge. Impossible because the horrific details cannot be held in the mind for long. In Too Many Men, the Holocaust stories do not come with the poised and philosophical moral gravity of an Inga Clendinnen, nor with the outrageous sensationalism of a Darville but with a doggedness and astonishment that are finally powerfully effective.

Since the publication in 1995 of her first collection, Michelangelo’s Prisoners, Jennifer Harrison has continued to impress readers and to broaden her repertoire. Her fourth collection in as many years, the intimately entitled Dear B, consolidates her reputation and demonstrates sufficient difference and intensity to satisfy admirers of this sensitive, likeable poet.

During my reading of Susan Varga’s first work of fiction, Happy Families, I was drawn back into the fields of family and emotion as offered in the two recent American films: The Ice Storm and Six Degrees of Separation. Each of these works hard at tracking the intricacies of humans connecting and communicating, the tectonics of family and emotional landscapes. Happy Families shows us, up close, mothers and daughters, aunts and grandchildren and cousins, lovers and spouses and neighbours. The drive of the work is, as with the two films cited, about how trauma is carried in the body, how we try and trick ourselves about recoveries. And, to a lesser extent, how we integrate the apprehension of difference into our experience of walking through the world. Varga’s novel is one of restitution and connection.

Breaking The Codes was published last August. The time that has subsequently elapsed makes it possible to comment not only on the book itself but also on some aspects of its reception.