Gwen Foster met Lieutenant Thomas Riddell in Brisbane in 1942, when she was twenty­two. ‘Tony’ Riddell, stationed in Brisbane, was sent to Darwin early in 1943; and between January and September of that year, Gwen Foster wrote him the eighty-nine letters that make up this book. It’s the chronicle of a year, of a city, of a family, of a friendship, of a war no one could see an end to, and of that stage in the life of a gifted young woman at which she says, ‘At present I am unsettled and do not know which way my life will turn.’

As interviewer to the literary gentry in the Yacker series, Candida Baker could hardly be deemed a stranger to the agonies and ecstasies of the fiction writer’s craft. Her skill as interviewer and journalist has attracted attention and praise, and now everyone who’s been holding their breath to see how Candy Baker would manage her own first excursion into fiction can relax with a sigh of relief.

One afternoon at the recent Melbourne Writers’ Festival I noticed that, while adulatory throngs surrounded Elizabeth Jolley and Thea Astley, another notable member of our literary matriarchy, Gwen Harwood, sat quietly outside in the sun, deep in philosophical discussion with a younger poet. This is a comment on the differential status accorded to fiction writers and poets, but also on the relatively self-effacing Gwen and her presence or place in the literary world.

Comedy and violence co-exist happily in this delightful first novel about a group of weekend bird watchers who themselves become the objects of scrutiny.

This is a distinctive and unsettling voice, one that doesn’t have time for overly polite concessions to our finer feelings. You either keep pace (and it’s compelling) or stand aside as the spadework gets done. Reading this poetry, we are involved in an unearthing of past events and made witness to the laying bare of personal response. But there’s nothing self-indulgent or hollow about Gig Ryan’s disinterment. The poetry has a sometimes shocking immediacy, a curious mixture of fierceness and vulnerability that conveys feeling with integrity.

Set mostly in north-western Nepal during the early 1970s, Blood on the Lotus is a fictionalised account of the events leading up and consequent to the CIA’s withdrawal of support for the Kamphas, the Tibetan guerrilla army fighting the occupying Chinese.

The reasons for rhyme, and the rhyme of his reasons, can be found in the prose work in the pieces ‘Poems and Poesies’ and ‘Poemes and the Mystery of the Embodiment’, the general underpinnings of which are outlined in ‘Embodiment and Incarnation’. He argues that art is a product of a trinity: the forebrain (the seat of waking reason), the limbic reptilian brain (the dream) and the body (the dance of ecstasy). God can reach us through all three, and poetry is a uniquely placed art which exploits all of these areas. Any deep integration of the three is a poem. Hence a theology (Christianity), an ideology (Marxism), or a breath-taking design (Porsche cars) can be a poem. Using the analogy from phoneme, Murray calls this large unit a ‘poeme’. ‘Poem’ he reserves for its traditional meaning, arguing that a poem is the most perfect and integrated art-form there is.

How different can two books be? Peter Rose’s first book, The House of Vitriol, is one of the first off the rank for the new Picador poetry series – and a sign of things to come. It is mercurial where Lehmann is mild. Rose’s style is very distinct: gaudy and revved up from the start.