Histories of classical music of whatever epoch – medieval, baroque, twentieth-century – tend to be written by university professors writing for a university readership. That being the case, they are issued by academic textbook publishers and are unlikely to pop up in your local bookstore. Chances are they won’t appear on best-seller and ‘pick of the critics’ lists.

The Good Parents, Joan London’s second novel, begins with the seduction and disappearance of Maya de Jong, an eighteen-year-old who has recently moved to Melbourne from a small Western Australian town. Maya’s worried parents, Jacob and Toni, travel to Melbourne, set themselves up in her Richmond share house, and begin to search for clues to explain her absence.

Twenty years after the publication of their ‘inclusive Australian literary history’, The New Diversity: Australian Fiction 1970–1988, Ken Gelder and Paul Salzman have returned with a ‘sequel’, After the Celebration: Australian Fiction 1989–2007. One leaden title succeeds another, although the tone of the second book is angrier. More of that later. As the authors note in their preface, The New Diversity was published by McPhee Gribble, an independent outfit that would largely be subsumed by Penguin in 1989, the year in which that book appeared. This observation prepares for the consistently impressive aspect of After the Celebration: its detailed, incisive, intelligently informed account of the changes in the circumstances of publishing, and especially fiction publishing, in Australia during the last two decades. One might take counsels of hope or despair from their analysis (particularly if one were a novelist), but still be grateful for it.

Judith Clarke’s new novel for young adults, The Winds of Heaven, is a moving story about the strength and difficulty of friendship, and how accidents of birth, family and situation can combine to overwhelm the brightest spirit.

On her first trip to Lake Conapaira in 1952, ten-year-old Clementine meets her cousin Fan for the first time. Fan is a whirlwind: beautiful, impulsive and imaginative. Clementine is entranced by Fan’s strength and liveliness, and the two girls quickly become friends. But Fan’s childhood is a world away from Clementine’s cautious but loving family home. Stranded with her violent mother amid the prejudices of a country town, the beautiful Fan is labelled ‘stupid’ at school, and regularly beaten and emotionally abused by her depressive mother. Her sister has left home, and her father disappeared long ago. Fan fights for happiness, and fights hard. She has her miyan, or spiritual guardian, an elderly Aborigine who lives in the bush and tells her stories. He calls her Yirigaa, ‘Morning Star’, and is the only positive adult influence in her life. Clementine wants to stay with Fan, but the holiday draws to an end and she must return home, leaving Fan with her mother in the house that smelled of ‘anger and hatred and disappointment and jagged little fears’.

In early 2001, several Roman Catholic nuns stood trial in Brussels for crimes against humanity for their part in the genocide in Rwanda. Rwandan nationals, they were charged with violating new provisions of Belgian national law, which make participation in genocide and crimes against humanity anywhere in the world a violation of the law of that country. Unlike the case of Slobodan Milosevic, who awaits trial before an international tribunal in the Hague, or recent well-publicised proceedings in England against Augusto Pinochet, which were based on an extradition request from a Spanish judge investigating the former dictator for crimes against Spanish citizens in Chile, the Belgian law grants jurisdiction against anyone, who commits certain types of crimes against anyone regardless of citizenship, anywhere. In other words, the Belgian system has nationalised international crimes and international criminal law jurisdiction.