Andrea Goldsmith, in her seventh novel, plunges once more into a world of characters whose ideas and relationships swirl and churn around a psychological trigger. This time it is memory in all its errant, bewitching manifestations. Memory plays tricks as the old adage goes, and for the novel’s main characters it is the trick of emersion in an idealised but ruptured past.

Two sisters (Zoe and Nina) live next door to two brothers (Ramsay and Sean) in a Melbourne suburban court of Howard Arkley ordinariness, where they are free to roam, play, and imagine at will, form a gang and dream up adventures under the care of relaxed and indulgent parents. It is an enchanted childhood enhanced by music-making, at which Zoe, Sean, and particularly Ramsay excel. While Nina loves music, she never masters an instrument. This sets her apart.

The skills involved in writing successful novels are rather different from those needed for a weekly newspaper column. In a column, a thousand words must engage the reader, week in week out, whether or not the writer has anything urgent to say. A short deadline is less forgiving, allowing scant time for polishing and self-editing. On the other hand, stylistic idiosyncrasies that might become tiresomely repetitive in a longer format can be indulged, even encouraged – part of the charm.

‘There is another world, but it is in this one.’ That is Paul Éluard, channelled by Patrick White as one of four epigraphs to The Solid Mandala (1966), a ‘doubleman’ of a novel avant la lettre.Other quotations appended to this story of Waldo and Arthur Brown are taken from Meister Eckhart (‘It is not outside, it is inside: wholly within’) and Patrick Anderson (‘… yet still I long / for my twin in the sun …’).

The Marmalade Files is a novel by Canberra press gallery veterans Steve Lewis and Chris Uhlmann. Set in 2011, it is a fast-paced political thriller with decidedly modest ambitions. Probably intended as a thriller or a light-hearted romp through Canberra’s back rooms, The Marmalade Files fails on both counts. It is a sort of bastard potboiler, weirdly confused in its intentions and shackled by an authorial voice that amounts to little more than a patina of hackneyed stereotypes.

It begins with a car accident. Five friends are returning to college after a night of drinking. The driver, Cameron, hits a deer and overturns the vehicle. When the police and ambulance arrive, Dylan, who has drunk the least, claims to have been at the wheel. The others – Elliot, who narrates the story, Tallis, Brian, and especially Cameron – let him assume responsibility. It is, more or less, what Dylan does, what his role in the group is: a mediator, a defuser of tension, a solver of problems. Ten years later, shortly after he is killed in a traffic accident, the details of that night, and other similar instances of Dylan’s particular kind of timely assistance, will resurface as the four gather for their annual reunion in Las Vegas.

Small towns, as anyone who has lived in one can attest, abound in colourful characters. Or is it just that people’s peccadilloes are magnified without the distractions of the madding crowd? Rod Usher knows a thing or two about small towns; he happens to live in one: the village of Barcarrota in Extremadura, Spain. After a long career in journalism – including stints as literary editor of The Age, chief subeditor of The Sunday Times in London, and as a senior writer for TIME magazine in Europe – he opted for the quiet life to concentrate on his literary career. He has published two books of poetry, Above Water (1985) and Smiling Treason (1992), two previous novels, A Man of Marbles (1989) and Florid States (1990), and some non-fiction. Echoes of that work resound in the new book … but more of that later.

In or about that annus mirabilis 1968, Philip Roberts – academic, musician, poet and founder in 1970 of the poetry imprint Island Press – delivered a conference paper entitled ‘Physician Heal Thyself’, which considered eminent poets who had also been medical practitioners. (Roberts had gone from Canada to Oxford as a Rhodes Scholar to study medicine, but in a Pauline moment switched to Arts.) He spoke of William Carlos Williams, Miroslav Holub, and Boris Pasternak, among others. The climax of his paper was his consideration of Pasternak’s novel Doctor Zhivago, which he claimed had as its raison d’être nothing more or less than to serve as a vehicle for Zhivago’s poetry, which appears, if memory serves correctly, as an appendix. The tail well and truly wagged the tale.