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45 o Reviews was campaigning forthe freedom to read. Then, there is the second contender forthe most-censored novel, Huckleberry Finn. Steinle recognizes the relevance of this novel to her subject but again never pursues it, never mentions, forexample, Nat Hentoff's sardonic 1982 novel about this censorship case, The Day They Came to Arrest the Book. As a result, although In Cold Fear performs the useful exercise of reminding us of the controversies Salinger's novel has generated, the study only goes a limited way towards explaining why those controversies should have taken place. University of Liverpool David Seed Contemporary American Fiction: An Introduction to American Fiction since 1970. By Kenneth Millard. Oxford and New York: Oxford University Press. 2000. viii + 328pp.?10.99. ISBN 0-19-871178-6. With the exception of Chaucer, Shakespeare, and a handful of others, all literature is subject to the vagaries of fashion. Even a writer as central to the canon as Dickens was fora time somewhat marginalized by F. R. Leavis's decision that he did not belong to the Great Tradition, and Leavis and T. S. Eliot between them promoted John Donne to, and briefly relegated Milton from, the premier league of English poets. In the field of contemporary American fiction,however, shifts in the reputations of authors are so rapid and radical that constructing any sort of canon is a risky venture. Ken? neth Millard himself points out in his introduction that, of the twenty-two writers discussed in Tony Tanner's City of Words: American Fiction 1950-1970 (London: Cape, 1971), only two (Philip Roth and John Updike) also feature in Contemporary American Fiction. He justifies his decision to omit Pynchon, Mailer, Malamud, Bellow, Barth, Hawkes, Vonnegut, Burroughs, and Heller on the grounds that their 'best and most influential work [...] belongs to an earlier period' (p.
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