History New Wave science fiction

1 history

1.1 influences , predecessors
1.2 movement
1.3 decline , lasting influence

history

influences , predecessors

though new wave began in 1960s, of tenets can found in h. l. gold s editorship of galaxy, science fiction magazine began publication in 1950. james gunn described gold s focus being not on adventurer, inventor, engineer, or scientist, on average citizen, , according sf historian david kyle, gold s work lead new wave.

the new wave did not define development science fiction came before it, reacted against it. new wave writers did not operate organized group, of them felt tropes of pulp , golden age periods had become worn out, , should abandoned: j. g. ballard stated in 1962 science fiction should turn on space, on interstellar travel, extra-terrestrial life forms, (and) galactic wars , , brian aldiss said in trillion year spree: history of science fiction props of sf few: rocket ships, telepathy, robots, time travel...like coins, become debased over-circulation. harry harrison summarised period saying old barriers coming down, pulp taboos being forgotten, new themes , new manners of writing being explored .

new wave writers began outside traditional scope of science fiction influence; looked example of beat writer william s. burroughs – new wave authors philip josé farmer , barrington j. bayley wrote pastiches of work ( jungle rot kid on nod , 4 colour problem , respectively), while j. g. ballard published admiring essay in issue of new worlds. burroughs use of experimentation such cut-up technique , appropriation of science fiction tropes in radical ways proved extent prose fiction prove revolutionary, , new wave writers sought emulate style.

ursula k. le guin, 1 of writers emerge in 1960s, describes transition new wave era thus:

without in least dismissing or belittling earlier writers , work, think fair science fiction changed around 1960, , change tended toward increase in number of writers , readers, breadth of subject, depth of treatment, sophistication of language , technique, , political , literary consciousness of writing. sixties in science fiction exciting period both established , new writers , readers. doors seemed opening.

critic rob latham identifies 3 trends linked advent of new wave in 1960s emergence of cyberpunk in 1980s. said changes in technology economic recession constricted market science fiction, generating widespread malaise among fans, while established writers forced reduce output (or, isaac asimov, shifted emphasis other subjects); finally, editors encouraged fresh approaches earlier ones discouraged.

movement

there no consensus on precise starting point of new wave – adam roberts refers alfred bester having singlehandedly invented genre, , in introduction collection of leigh brackett s short fiction, michael moorcock referred 1 of genre s true godmothers . however, accepted among critics new wave began in england magazine new worlds , michael moorcock. appointed editor in 1964 (first issue number 142, may , june)

while american magazines amazing stories, cele goldsmith editor, , magazine of fantasy & science fiction had start had leaning towards unusually literary stories, moorcock turned concerted policy. no other science fiction magazine sought consistently distance traditional science fiction as new worlds. time ceased regular publication had backed away science fiction genre itself, styling experimental literary journal.

under moorcock s editorship galactic wars went out; drugs came in; there fewer encounters aliens, more in bedroom. experimentation in prose styles became 1 of orders of day, , baleful influence of william burroughs threatened gain upper hand. judith merril observed:

this magazine [new worlds] publishing thermometer of trend dubbed new wave . in united states trend created intense, incredible controversy. in britain people either found of interest or didn t, in states heresy on 1 hand , wonderful revolution on other.

as anthologist , speaker merril other authors had been advocating reestablishment of science fiction within literary mainstream , higher literary standards before. incredible controversy characterized david hartwell in opening sentence of book chapter entitled new wave: great war of 1960s : conflict , argument enduring presence in sf world, literary politics has yielded open warfare on largest scale once. heresy beyond experimental , explicitly provocative inspired burroughs. in coherence literary nouvelle vague although not in close association it, , addressing less restricted pool of readers, new wave reversing standard hero s attitude toward action , science. illustrated egotism - depriving plot of motivation toward rational explanation.

david hartwell commenting on algis budrys writing in review column of galaxy magazine notes ringing scorn , righteous indignation budrys discussion vibrates in 1 of classic diatribes against ballard , new mode of sf emergent :

a story j. g. ballard, know, calls people don t think. 1 begins characters regard physical universe mysterious , arbitrary place, , not dream of trying understand actual laws. furthermore, in order protagonist of j. g. ballard novel, or more minor character therein, must have cut off entire body of scientific education. in way, when world disaster – wind or water – comes upon you, under absolutely no obligation sit , worship it. more further, force has acted remove face of world people might impose sense or rational behavior on you, disaster proceeds unchecked , unopposed except inevitable thumb-rule engineer type individual comfort builds huge pyramid (without huge footings) resist high winds, or trains herd of alligators , renegade divers him out in dealing deep water.

new worlds author thomas disch not earn better quotes budrys in december 1966 review ineptly written genocide, work of unrelieved trash filled horde of dumb, resigned victims.

writing in dreams our stuff made of, thomas disch observed that:

literary movements tend compounded, in various proportions, of genius of 2 or 3 genuinely original talents, few other capable or established writers have been co-opted or gone along ride, apprentice work of epigones , wannabes, , great deal of hype. sense of new wave, twenty-five years of hindsight, irreducible nucleus dyad of j. g. ballard , michael moorcock, ...

ballard , moorcock engendered animosity established sf community.

in 1963 michael moorcock wrote:

let s have quick @ lot of science fiction lacks. briefly, these of qualities miss on whole – passion, subtlety, irony, original characterization, original , style, sense of involvement in human affairs, colour, density, depth, and, on whole, real feeling writer...

in 1962 ballard had been writing:

i ve wondered why s-f shows little of experimental enthusiasm has characterized painting, music , cinema during last 4 or 5 decades, particularly these have become wholeheartly speculative, more , more concerned creation of new states of mind, constructing fresh symbols , languages old cease valid. …

the biggest developments of immediate future take place, not on moon or mars, on earth, , inner space, not outer, need explored. alien planet earth. in past scientific bias of s-f has been towards physical sciences – rocketry, electronics, cybernetics – , emphasis should switch biological sciences. accuracy, last refuge of unimaginative, doesn t matter hoot. …

it inner space-suit still needed, , science fiction build it!

roger luckhurst points out ballard s essay way inner space? showed influence of media theorist marshall mcluhan , anti-psychiatry of r. d. laing. luckhurst traces influence of both these thinkers in ballard s fiction, in particular atrocity exhibition (1970)

another central concern of new wave fascination entropy – world (and universe) must tend disorder, run down heat death . ballard provided

an explicitly cosmological vision of entropic decline of universe in magisterial story voices of time , appeared in 1960. provided matrix of ideas subsequent new wave writing teased out in various contexts. perhaps best instance of elaboration pamela zoline s heat death of universe.

like other writers new worlds zoline uses science-fictional , scientific language , imagery describe ordinary scenes of life , , doing produces altered perceptions of reality in reader.

judith merril, annual anthologies first heralds of coming of [new wave] cult, writing in 1967 in magazine of fantasy , science fiction contrasts sf new wave (which here terms new thing ) in england , united states:

they call new thing.

the people call don t it, , general agreements seem have ballard demon , prophetess – , wrong tom disch, , british s-f in general. …

the american counterpart less cohesive school or movement : has had no single publication in concentrate development, , was, in fact, till recently, excluded regular s-f magazines. same reasons, more diffuse , perhaps more widespread.

judith merril s annual anthologies (1957–1968), damon knight s orbit series, , harlan ellison s dangerous visions featured american writers inspired british writers (although of writers anthologized british). brooks landon, professor of english @ university of iowa, says of dangerous visions it

was innovative , influential before had readers because first big original anthology of sf, offering prices writers competitive magazines. readers followed, however, attracted 33 stories sf writers both well-established , relatively unheard of. these writers responded editor harlan ellison s call stories not published elsewhere or had never been written in face of censorship sf editors. among stories ellison received joycean riders of purple wage, philip jose farmer, carcinoma angels , norman spinrad, , aye, , gomorrah… samuel r. delany, stories brian aldiss, philip k. dick, j. g. ballard, john brunner, john sladek, roger zelazny, david r. bunch, theodore sturgeon, carol emshwiller, , sonya dorman. [t]o sf readers, in united states, dangerous visions felt revolution ... dangerous visions marks emblematic turning point american sf.

the new wave had political subtext.

most of classic writers had begun writing before second world war, , reaching middle age 1960s; writers of so-called new wave born during or after war, , not reacting against sf writers of past, playing part in general youth revolution of 1960s had such profound effects upon western culture. no accident new wave began in britain @ time of beatles, , took off in united states @ time of hippies – both, therefore @ time of cultural innovation , generational shake-up …

eric s. raymond, looking @ new wave narrower political focus, observes:

the new wave s inventors (notably michael moorcock, j. g. ballard , brian aldiss) british socialists , marxists rejected individualism, linear exposition, happy endings, scientific rigor , u.s. s cultural hegemony on sf field in 1 fell swoop. new wave s later american exponents associated new left , opposition vietnam war, leading rancorous public disputes in politics tangled definitional questions nature of sf , direction of field.

for example, judith merril, 1 of visible -- , voluble -- apostles of new wave in 1960s sf remembers return england united states:

so went home ardently looking revolution. kept searching until chicago democratic convention in 1968. went chicago partly seek out revolution, if there 1 happening, , partly because seventeen-year-old daughter … wanted go.

merril records later @ end of convention week, taste of america sour in our mouths, , end of sixties, merril political refugee living in canada.

roger luckhurst disagrees critics (he gives example of thomas clareson) perceive new wave in terms of rupture, suggesting such model

doesn t quite seem map onto american scene, though wider conflicts of 1960s liberalization in universities, civil rights movement , cultural contradictions inherent in consumer society starker , more violent in britain. young turks within sf had ossified ancient regime topple: john campbell s intolerant right-wing editorials astounding science fiction (which renamed analog in 1960) teetered on self parody. in 1970, when campus revolt against american involvement in vietnam reached height , resulted in national guard shooting 4 students dead in kent state university, campbell editorialized punishment due , , rioters should expect met lethal force. vietnam famously divided sf community extent that, in 1968, galaxy magazine carried 2 adverts, 1 signed writers in favour , 1 against war.

but caution needed when assessing literary movement, example science fiction writer bruce sterling, reacting association sf movement in 1980s remarked:

when did new wave sf end? last new wave sf writer? can t new wave sf writer today. can recite numbers of them: ballard, ellison, spinrad, delaney, blah, blah, blah. transitional figure zelazny? literary movement isn t army. don t wear uniform , swear allegiance. s group of people trying develop sensibility.

similarly rob latham observes:

... indeed, 1 of central ways new wave experienced, in , britain, liberated outburst of erotic expression, counterpoised, advocates of new thing (as merril called it), priggish puritanism of golden age. yet stark contrast, while not unreasonable, tends ultimately, of historical distinctions drawn between new wave , predecessors, overemphasize rupture @ expense of continuity, disappearing of pioneering trends in 1950s sf paved way new wave s innovations.

bearing proviso in mind still possible sum new wave in terms of rupture done example darren harris-fain of shawnee state university:

the split between new wave , else in american sf during late 1960s dramatic division @ same time between young protesters , called establishment, , in fact, political views of younger writers, prominent in work, reflect many contemporary concerns. new wave accused became de facto old wave of being old-fashioned, patriarchal, imperialistic, , obsessed technology; many of more established writers thought new wave shallow, said literary innovations not innovations @ (which in fact, outside of sf, not), , accused of betraying sf s grand view of humanity s role in universe. both assertions largely exaggerations, of course, , in next decade both trends merge synthesis of styles , concerns. however, in 1970 issue far settled , remain source of contention next few years.

decline , lasting influence

in opening paragraph of essay on new wave rob latham relates that

in august 1970 issue of sfwa forum, publication circulated members of science fiction writers of america, harlan ellison remarked controversy on new wave, had consumed field during late 1960s, seemed have been blissfully laid rest. there never was, claimed,

any real conflict among writers. manufactured controversy, staged fans hype own participation in genre. total misunderstanding of happening (not unusual fans, history … shows us) managed stir great deal of pointless animosity , if had real effect suspect in unfortunate area of causing writers feel unable keep , consequently slowed writing output.

latham remarks analysis harlan ellison obscures ellison s own prominent role – , of other professional authors , editors such judith merril, michael moorcock, lester del rey, frederik pohl, , donald a. wollheim – in fomenting conflict, …

in 1970s number of writers , readers pointed out that

winners of nebula awards, created science fiction writers of america (swfa) in 1965, tended different recipients of hugo awards, given fans @ annual world science fiction convention (the worldcon), arguing highlighted fact many writers had departed readers tastes self-indulgence. …

while writers , fans continued argue new wave until end of 1970s – in world of science fiction, 1926–1976: history of subculture, instance, lester del ray devotes several pages castigating movement – part controversy died down decade wore on.

the closing of new worlds magazine in 1970 marked containment of new wave experiment rest of counter-culture. various limping manifestations of new world across 1970s … demonstrated posthumous nature of avant-gardism.

in essay alien encounter professor patrick parrinder s states meaningful act of defamiliarization can relative, since not possible man imagine utterly alien him; utterly alien meaningless. continues later:

within sf, however, not necessary break wider conventions of prose narrative in order produce work validly experimental. new wave writing of 1960s, fragmented , surrealistic forms, has not made lasting impact, because cast net wide. reform sf 1 must challenge conventions of genre on own terms.

veteran science fiction writer jack williamson (1908–2006) when asked in 1991: did [new] wave s emphasis on experimentalizm , conscious efforts make sf more literary have kind of permanent effects on field? replied:

after subsided -- s old hat -- left sharpened awareness of language , keener interest in literary experiment. did wash occasional bits of beauty , power. example, helped launch careers of such writers [samuel r] chip delany, brian aldiss, , harlan ellison, of whom seem have gone on own highly individualistic directions. key point here new wave sf failed move people. m not sure if failure due pessimistic themes or people feeling stuff pretentious. never grabbed hold of people s imaginations.

it has been observed that

there efficacious in sf s marginality , tenuous self-identity -- ambiguous generic distinction other literary categories -- and, perhaps more importantly, in distinction has variously been called realist, mainstream, or mundane fiction.

david hartwell s maintains after new wave, science fiction had still managed retain marginality , tenuous self-identity :

the british , american new wave in common have denied genre status of sf entirely , ended continual development of new specialized words , phrases common body of sf, without sf indistinguishable mundane fiction in entirety (rather out on borders of experimental sf, indistinguishable other experimental literature). denial of special or genre status cause of failure of new wave achieve popularity, which, if had become dominant, have destroyed sf separate field.

isaac asimov, science fiction writer began career john w, campbell in astounding magazine in 1940s, said of new wave: hope when new wave has deposited froth , receded, vast , solid shore of science fiction appear once more.

asimov himself illustrate how sf shore did indeed re-emerged, vast, solid—but changed. biographer of asimov noted during 1960s

stories , novels asimov must not have liked , must have felt not part of science fiction had helped shape winning acclaim , awards. must have felt science fiction no longer needed him. science fiction writing, … became more desultory , casual.

asimov s return serious writing in 1971 gods (when of debate new wave had dissipated) act of courage …

darren harris-fain observes on return writing sf asimov that

the novel [the gods themselves] noteworthy how both shows asimov indeed same writer in 1970s had been in 1950s , nonetheless had been affected new wave if never part of it. depiction of alien ménage trois, complete homoerotic scenes between 2 males, marks interesting departure earlier fiction, in sex of sort conspicuously absent. there minor experimentation structure.

other themes dealt in novel concerns environment , human stupidity , delusional belief in human superiority , both frequent topics in new wave sf.

commenting in 2002 on publication of 35th anniversary edition of dangerous visions anthology edited harlan ellison, critic greg l. johnson remarked that

if new wave did not entirely revolutionize way sf written, (the exploration of invented world through use of adventure plot remains prototypical sf story outline), did succeed in pushing boundaries of considered sf, , use of stylistic innovations outside sf helped raise standards. became less easy writers away stock characters spouting wooden dialogue laced technical jargon. such stories still exist, , still published, no longer typical of field.

isaac asimov agrees on whole, new wave thing. describes several interesting side effects of new wave. firstly brought non-american sf fore , afterwards sf international phenomenon. other changes noted that

the new wave encouraged more , more women begin reading , writing science fiction…. broadening of science fiction meant approaching mainstream … in style , content. meant increasing numbers of mainstream novelists recognizing importance of changing technology , popularity of science fiction, , incorporating science fiction motifs own novels.

the noted academic writer on science fiction edward james sums new wave , impact follows:

the american new wave was, on whole, quite unlike british. latter group of people associated magazine had particular programme …, whereas american writers gathered in london @ time, [samuel r] delaney, [thomas m] disch, , [john] sladek, individuals pursuing own ends, not of ballard or moorcock. movement , american new wave less real british; no more concatenation of talent flourishing @ same time , bringing new ideas , new standards writing of sf. british new wave had few lasting effects, in britain; american new wave ushered in great expansion of field , of readership. no doubt writers did not achieve success on own. may noted, instance, burst of originality occurred @ same times 3 seasons of star trek, contributed expansion of sf s readership. whether or not of boom can attributed american new wave, clear rise in literary , imaginative standards associated late 1960s contributed great deal of original writers of 1970s, including john crowley, joe haldeman, ursula k. le guin, james tiptree, jr., , john varley.

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