David Pringle (born 1 March 1950) is a Scottish science fiction editor and critic.
67-411: Pringle served as the editor of Foundation , an academic journal, from 1980 to 1986, during which time he became one of the prime movers of the collective which founded Interzone in 1982. By 1988, he was the sole publisher and editor of Interzone , a position he retained until he sold the magazine to Andy Cox in 2004. For 2 + 1 ⁄ 2 years, from 1991 to 1993, he also edited and published
134-600: A great expansion of the field and of its readership... it is clear that the rise in literary and imaginative standards associated with the late 1960s contributed a great deal to some of the most original writers of the 1970s, including John Crowley , Joe Haldeman , Ursula K. Le Guin , James Tiptree, Jr. , and John Varley ." Though the New Wave began during the 1960s, some of its tenets can be found in H. L. Gold 's editorship of Galaxy , which began publication in 1950. James Gunn described Gold's emphasis as being "not on
201-501: A less restricted pool of readers, the New Wave was reversing the standard hero's attitude toward action and science. It illustrated egotism—often by depriving the plot of motivation toward a rational explanation. In 1962 Ballard wrote: I've often wondered why s-f shows so little of the experimental enthusiasm which has characterized painting, music and the cinema during the last four or five decades, particularly as these have become wholeheartedly speculative, more and more concerned with
268-717: A magazine entitled Million: The Magazine About Popular Fiction . Interzone was nominated several times for the Hugo award for best semiprozine , winning in 1995. In 2005, the Worldcon committee gave Pringle a Special Award for his work on Interzone . Pringle is a scholar of J. G. Ballard . He wrote the first short monograph on Ballard, Earth is the Alien Planet: J. G. Ballard's Four-Dimensional Nightmare (Borgo Press, 1979) and compiled J. G. Ballard: A Primary and Secondary Bibliography (G. K. Hall, 1984). He also published
335-691: A newsletter, first titled News From The Sun then JGB News , from 1981 until 1996. He worked as a series editor for Games Workshop , in 1988–1991, commissioning shared world novels and short stories based on their Warhammer and Dark Future games. Pringle has written several guides to science fiction , including Science Fiction: The 100 Best Novels , The Ultimate Guide to Science Fiction , and Modern Fantasy: The 100 Best Novels . His books are less American-oriented and more British-oriented than many similar works. He has also edited two large reference books, St James Guide to Fantasy Writers and St James Guide to Horror, Ghost and Gothic Writers ; plus
402-572: A number of anthologies and illustrated coffee-table books about genre writing. Foundation - The International Review of Science Fiction Foundation: The International Review of Science Fiction is a critical peer-reviewed literary journal established in 1972 that publishes articles and reviews about science fiction . It is published triannually (spring, summer, and winter) by the Science Fiction Foundation . The Encyclopedia of Science Fiction has called it "perhaps
469-579: A sense of involvement in human affairs, colour, density, depth, and, on the whole, real feeling from the writer..." Roger Luckhurst pointed out that J. G. Ballard's 1962 essay, Which Way to Inner Space? "showed the influence of media theorist Marshall McLuhan and the 'anti-psychiatry' of R. D. Laing ." Luckhurst traces the influence of both these thinkers in Ballard's fiction, in particular The Atrocity Exhibition (1970). After Ellison's Dangerous Visions , Judith Merril contributed to this fiction in
536-424: A sharpened awareness of language and a keener interest in literary experiment. It did wash up occasional bits of beauty and power. For example, it helped launch the careers of such writers as [Samuel R.] Chip Delany, Brian Aldiss, and Harlan Ellison, all of whom seem to have gone on their own highly individualistic directions. But the key point here is that New Wave SF failed to move people. I'm not sure if this failure
603-484: A transitional figure like Zelazny? A literary movement isn't an army. You don't wear a uniform and swear allegiance. It's just a group of people trying to develop a sensibility." Similarly, Rob Latham observed: ...indeed, one of the central ways the New Wave was experienced, in the US and Britain, was as a "liberated" outburst of erotic expression, often counterpoised, by advocates of the "New Thing" (as Merril called it), with
670-525: Is characterized by David Hartwell in the opening sentence of a book chapter entitled "New Wave: The Great War of the 1960s": "Conflict and argument are an enduring presence in the SF world, but literary politics has yielded to open warfare on the largest scale only once." The changes were more than the experimental and explicitly provocative as inspired by Burroughs; in coherence with the literary nouvelle vague , although not in close association to it, and addressing
737-404: Is fair to say that science fiction changed around 1960, and that the change tended toward an increase in the number of writers and readers, the breadth of subject, the depth of treatment, the sophistication of language and technique, and the political and literary consciousness of the writing. The sixties in science fiction were an exciting period for both established and new writers and readers. All
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#1732787261028804-457: Is not possible for man to imagine what is utterly alien to him; the utterly alien would also be meaningless." He also states, "Within SF, however, it is not necessary to break with the wider conventions of prose narrative in order to produce work that is validly experimental. The 'New Wave' writing of the 1960s, with its fragmented and surrealistic forms, has not made a lasting impact, because it cast its net too wide. To reform SF one must challenge
871-416: The cut-up technique and his use of science fiction tropes in new manners proved the extent to which prose fiction could seem revolutionary, and some New Wave writers sought to emulate this style. Ursula K. Le Guin , one of the newer writers to be published during the 1960s, describes the transition to the New Wave era thus: Without in the least dismissing or belittling earlier writers and work, I think it
938-607: The modernist and then postmodernist traditions and sometimes mocked the traditions of older science fiction, which many of them regarded as stodgy, adolescent and badly written. Many also rejected the content of the Golden Age of Science Fiction , emphasizing not on outer space but human psychology, that is, subjectivity, dreams, and the unconscious. Nonetheless, during the New Wave period, traditional types of science fiction continued to appear, and in Rob Latham 's opinion,
1005-434: The psychological and social sciences as opposed to the physical sciences . New Wave authors often considered themselves as part of the modernist tradition of fiction, and the New Wave was conceived as a deliberate change from the traditions of the science fiction characteristic of pulp magazines , which many of the writers involved considered irrelevant or unambitious. The most prominent source of New Wave science fiction
1072-403: The slipstream literary genre, an interface between mainstream or postmodern fiction and science fiction. The concept of a 'new wave' has been applied to science fiction in other countries, including for some Arabic science fiction, with Ahmed Khaled Tawfik 's best-selling novel Utopia being considered a prominent example, and Chinese science fiction , where it has been applied to some of
1139-519: The 1960s (e.g., the quartet begun by The Wind from Nowhere [1960]), engaged with the concept of eco-catastrophe, as did Disch's The Genocides and Ursula K. Le Guin's short novel The Word for World Is Forest . The latter, with its description of the use of napalm on indigenous people, was also influenced by Le Guin's perceptions of the Vietnam War , and both emphasized anti-technocratic fatalism instead of imperial hegemony via technology, with
1206-451: The 1960s and 1970s, including sexuality ; drug culture , especially the work of William S. Burroughs and the use of psychedelic drugs ; and the popularity of environmentalism. J. G. Ballard's themes included alienation , social isolation , class discrimination , and the end of civilization , in settings ranging from a single apartment block ( High Rise ) to entire worlds. Rob Latham noted that several of J. G. Ballard's works of
1273-544: The American magazines Amazing Stories and The Magazine of Fantasy & Science Fiction had from the start printed unusually literary stories, Moorcock made that into a more definite policy, and he sought to use the magazine to "define a new avant-garde role" for science fiction by the use of "new literary techniques and modes of expression". No other science fiction magazine was made to differ as consistently from traditional science fiction as much as New Worlds . By
1340-644: The Foundation Studies in Science Fiction. The hundredth edition (Summer 2007) was unusual in that it was an all-fiction issue, including stories by such writers as Vandana Singh , Tricia Sullivan , Karen Traviss , Jon Courtenay Grimwood , John Kessel , Nalo Hopkinson , Greg Egan , and Una McCormack . Back issues of the journal are archived at the University of Liverpool 's SF Hub whilst more recent issues can be found electronically via
1407-520: The Lamps of His Mouth " (1965) and He Who Shapes (1966) involve literary self-reflexivity, playful collocations, and neologisms. In stories like "Repent, Harlequin!" Said the Ticktockman , Harlan Ellison is considered as using gonzo -style syntax. Many New Wave authors used obscenity and vulgarity intensely or frequently. Concerning visual aspects, some scenes of J. G. Ballard's novels reference
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#17327872610281474-515: The New Wave and everyone else in American SF during the late 1960s was nearly as dramatic as the division at the same time between young protesters and what they called "the establishment," and in fact, the political views of the younger writers, often prominent in their work, reflect many contemporary concerns. New Wave accused what became de facto the old wave of being old-fashioned, patriarchal, imperialistic, and obsessed with technology; many of
1541-611: The New Wave in 1960s sf" remembers her return from England to the United States: "So I went home ardently looking for a revolution. I kept searching until the Chicago Democratic Convention in 1968 . I went to Chicago partly to seek out a revolution, if there was one happening, and partly because my seventeen-year-old daughter... wanted to go." Merril said later, "At the end of the Convention week,
1608-408: The New Wave later interacting with feminism, ecological activism and postcolonial rhetoric. A major concern of the New Wave was a fascination with entropy , i.e., that the world (and the universe) must tend to disorder, eventually resulting in " heat death ". The New Wave also engaged with utopia , a common theme of science fiction, offering more nuanced interpretations. Transformation of style
1675-497: The New Wave until the end of the 1970s—in The World of Science Fiction, 1926–1976: The History of a Subculture , for instance, Lester Del Ray devotes several pages to castigating the movement—for the most part the controversy died down as the decade wore on." In a 1979 essay, Professor Patrick Parrinder , commenting on the nature of science fiction, noted that "any meaningful act of defamiliarization can only be relative, since it
1742-747: The States it was heresy on the one hand and wonderful revolution on the other." Brooks Landon, professor of English at the University of Iowa, says of Dangerous Visions that it was innovative and influential before it had any readers simply because it was the first big original anthology of SF, offering prices to its writers that were competitive with the magazines. The readers soon followed, however, attracted by 33 stories by SF writers both well-established and relatively unheard of. These writers responded to editor Harlan Ellison's call for stories that could not be published elsewhere or had never been written in
1809-544: The U.S.'s cultural hegemony over the SF field in one fell swoop. The New Wave's later American exponents were strongly associated with the New Left and opposition to the Vietnam War, leading to some rancorous public disputes in which politics was tangled together with definitional questions about the nature of SF and the direction of the field. For example, Judith Merril, "one of the most visible—and voluble—apostles of
1876-533: The United States by editing the anthology England Swings SF: Stories of Speculative Fiction (Doubleday 1968). The New Wave also had political associations: Most of the 'classic' writers had begun writing before the Second World War, and were reaching middle age by the early 1960s; the writers of the so-called New Wave were mostly born during or after the war, and were not only reacting against
1943-406: The academic study of science fiction is its annual essay prize, open to post-graduate students and early career researchers. New Wave science fiction The New Wave was a science fiction style of the 1960s and 1970s, characterized by a great degree of experimentation with the form and content of stories, greater imitation of the styles of non-science fiction literature, and an emphasis on
2010-428: The adventurer, the inventor, the engineer, or the scientist, but on the average citizen," and according to SF historian David Kyle, Gold's work would result in the New Wave. The New Wave was partly a rejection of the Golden Age of Science Fiction . Algis Budrys in 1965 wrote of the "recurrent strain in 'Golden Age' science fiction of the 1940s—- the implication that sheer technological accomplishment would solve all
2077-521: The answer, there is no question at all about the ‘new wave’: Tubb , Aldiss , and to get to my point, Kenneth Bulmer and John Brunner ". The term 'New Wave' has been incorporated into the concept of New Wave Fabulism, a form of magic realism "which often blend a realist or postmodern aesthetic with nonrealistic interruptions, in which alternative technologies, ontologies, social structures, or biological forms make their way in to otherwise realistic plots". New Wave Fabulism itself has been related to
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2144-454: The bedroom. Experimentation in prose styles became one of the orders of the day, and the baleful influence of William Burroughs often threatened to gain the upper hand." Judith Merril observed, "...this magazine [''New Worlds''] was the publishing thermometer of the trend that was dubbed "the New Wave". In the United States the trend created an intense, incredible controversy. In Britain people either found it of interest or they didn't, but in
2211-400: The broader genre had absorbed the New Wave's agenda and mostly neutralized it by the conclusion of the 1970s. The New Wave coincided with a major change in the production and distribution of science fiction, as the pulp magazine era was replaced by the book market; it was in a sense also a reaction against typical pulp magazine styles. The New Wave interacted with a number of themes during
2278-634: The campus revolt against American involvement in Vietnam reached its height and resulted in the National Guard shooting four students dead in Kent State University , Campbell editorialized that the 'punishment was due', and rioters should expect to be met with lethal force. Vietnam famously divided the SF community to the extent that, in 1968, 'Galaxy' magazine carried two adverts, one signed by writers in favour and one by those against
2345-469: The civil rights movement and the cultural contradictions inherent in consumer society were starker and certainly more violent than in Britain." In particular, he noted: The young turks within SF also had an ossified 'ancient regime' to topple: John Campbell 's intolerant right-wing editorials for Astounding Science Fiction (which he renamed Analog in 1960) teetered on the self parody. In 1970, when
2412-405: The conflict..." For Roger Luckhurst, the closing of New Worlds magazine in 1970 (one of many years it closed) "marked the containment of New Wave experiment with the rest of the counter-culture. The various limping manifestations of New World across the 1970s... demonstrated the posthumous nature of its avant-gardism." By the early 1970s, a number of writers and readers were commenting about
2479-421: The conventions of the genre on their own terms." Others ascribe a more important, though still limited, effect. Veteran science fiction writer Jack Williamson (1908–2006) when asked in 1991: "Did the [New] Wave's emphasis on experimentalism and its conscious efforts to make SF more 'literary' have any kind of permanent effects on the field?" replied: After it subsided—it's old hat now—it probably left us with
2546-486: The creation of new states of mind, constructing fresh symbols and languages where the old cease to be valid... The biggest developments of the immediate future will take place, not on the Moon or Mars, but on Earth, and it is inner space , not outer, that need to be explored. The only truly alien planet is Earth. In the past the scientific bias of s-f has been towards the physical sciences—rocketry, electronics, cybernetics—and
2613-568: The database providers ProQuest . Foundation first appeared, sub-titled "The Review of Science Fiction", in March 1972 as the official publication of the SF Foundation, then based at North East London Polytechnic (now the University of East London ). The journal embodied the SF Foundation's chief aim which was "to promote science fiction, and bring together those who read, write, study, teach, research or archive science fiction in Britain and
2680-580: The differences between the winners of the Nebula Awards , which had been created in 1965 by the SFWA and were awarded by professional writers, and winners of the Hugo Awards , awarded by fans at the annual World Science Fiction Convention , with some arguing that this indicated that many authors were alienated from the sentiments of their readers: "While some writers and fans continued to argue about
2747-465: The doors seemed to be opening. Other writers and works seen as preluding or transitioning to the New Wave include Ray Bradbury 's The Martian Chronicles , Walter M. Miller 's 1959 A Canticle for Leibowitz , Cyril M. Kornbluth and Frederik Pohl 's anti-hyper-consumerist The Space Merchants (1952), Kurt Vonnegut 's mocking Player Piano (1952) and The Sirens of Titan (1959), Theodore Sturgeon 's humanist More Than Human (1953) and
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2814-461: The emphasis should switch to the biological sciences. Accuracy, that last refuge of the unimaginative, doesn't matter a hoot... It is that inner space-suit which is still needed, and it is up to science fiction to build it! In 1963 Moorcock wrote, "Let's have a quick look at what a lot of science fiction lacks. Briefly, these are some of the qualities I miss on the whole—passion, subtlety, irony, original characterization, original and good style,
2881-428: The face of almost certain censorship by SF editors... [T]o SF readers, especially in the United States, Dangerous Visions certainly felt like a revolution... Dangerous Visions marks an emblematic turning point for American SF. As an anthologist and speaker Merril with other authors advocated a reestablishment of science fiction within the literary mainstream and better literary standards. Her "incredible controversy"
2948-410: The fan community than in academia, and allied to the journal's long-term commitment to reviewing fiction as well as non-fiction, can be seen as "partaking of 'certain traditions of fan scholarship'." With the appointment, however, of Edward James as editor in 1986, "a more academic tone" was introduced to the journal, which has endured under the current editorial team. Part of the journal's commitment to
3015-476: The genre's "true godmothers". Algis Budrys said that in New Wave writers "there are echoes... of Philip K. Dick , Walter Miller, Jr. and, by all odds, Fritz Leiber ". However, it is accepted by many critics that the New Wave began in England with the magazine New Worlds and Michael Moorcock . who was appointed editor in 1964 (first issue number 142, May and June ); Moorcock was editor until 1973. While
3082-589: The hermaphrodite society of Venus Plus X (1960), and Philip José Farmer 's human-extraterrestrial sexual encounters in The Lovers (1952) and Strange Relations (1960). There is not any consensus about a precise beginning for the New Wave—British author Adam Roberts refers to Alfred Bester as having single-handedly invented the genre, and in the introduction to a collection of Leigh Brackett 's short fiction, Michael Moorcock referred to her as one of
3149-529: The issue was far from settled and would remain a source of contention for the next few years. In the August 1970 issue of the SFWA Forum , a publication for Science Fiction Writers of America members, Harlan Ellison stated that the New Wave furore, which had flourished during the late 1960s, appeared to have been "blissfully laid to rest". He also claimed that there was no real conflict between writers: It
3216-504: The liveliest and indeed the most critical of the big three critical journals" (the others being Extrapolation and Science Fiction Studies ). A long-running feature was the series of interviews and autobiographical pieces with leading writers, entitled "The Profession of Science Fiction", a selection of which was edited and published by Macmillan Publishers in 1992. Several issues have been themed, including #93 ( A Celebration of British Science Fiction , 2005), also published as part of
3283-408: The more established writers thought the New Wave shallow, said that its literary innovations were not innovations at all (which in fact, outside of SF, they were not), and accused it of betraying SF's grand view of humanity's role in the universe. Both assertions were largely exaggerations, of course, and in the next decade both trends would merge into a synthesis of styles and concerns. However, in 1970
3350-414: The only general agreements they seem to have are that Ballard is its Demon and I am its prophetess—and that it is what is wrong with Tom Disch, and with British s-f in general... The American counterpart is less cohesive as a "school" or "movement": it has had no single publication in which to concentrate its development, and was, in fact, till recently, all but excluded from the regular s-f magazines. But for
3417-615: The period by saying "old barriers were coming down, pulp taboos were being forgotten, new themes and new manners of writing were being explored". New Wave writers began to use non-science fiction literary themes, such as the example of beat writer William S. Burroughs —New Wave authors Philip José Farmer and Barrington J. Bayley wrote pastiches of his work ( The Jungle Rot Kid on the Nod and The Four Colour Problem , respectively), while J. G. Ballard published an admiring essay in an issue of New Worlds . Burroughs' use of experimentation such as
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#17327872610283484-559: The priggish Puritanism of the Golden Age. Yet this stark contrast, while not unreasonable, tends ultimately, as do most of the historical distinctions drawn between the New Wave and its predecessors, to overemphasize rupture at the expense of continuity, effectively "disappearing" some of the pioneering trends in 1950s sf that paved the way for the New Wave's innovations. However, Darren Harris-Fain of Shawnee State University emphasized New Wave in terms of difference: The split between
3551-891: The problems, hooray, and that all the problems were what they seemed to be on the surface". The New Wave was not defined as a development from the science fiction which came before it, but initially reacted against it. New Wave writers did not operate as an organized group, but some of them felt the tropes of the pulp magazine and Golden Age periods had become over-used, and should be abandoned: J. G. Ballard stated in 1962 that "science fiction should turn its back on space, on interstellar travel, extra-terrestrial life forms, (and) galactic wars", and Brian Aldiss said in Trillion Year Spree: The History of Science Fiction that "the props of SF are few: rocket ships, telepathy, robots, time travel...like coins, they become debased by over-circulation." Harry Harrison summarised
3618-549: The rest of the world." Since science fiction studies was then in its infancy as an academic subject, many of its early contributors were professional writers, editors and freelance critics, especially those associated with New Wave science fiction . Its long-running features editor, from #10 (1976) to #51 (1991), was Ian Watson (author) whilst its reviews editors have included John Clute (#20-47), Colin Greenland (#47-65) and Andy Sawyer (#65-129). This element, more rooted in
3685-563: The same reasons, it is more diffuse and perhaps more widespread. The science fiction academic Edward James also discussed differences between the British and American SF New Wave. He believed that the former was, due to J. G. Ballard and Michael Moorcock, associated mainly with a specific magazine with a set programme that had little subsequent influence. James noted additionally that even the London-based American writers of
3752-666: The sf writers of the past, but playing their part in the general youth revolution of the 1960s which had such profound effects upon Western culture. It is no accident that the New Wave began in Britain at the time of the Beatles , and took off in the United States at the time of the hippies —both, therefore at a time of cultural innovation and generational shake-up... Eric S. Raymond observed: The New Wave's inventors (notably Michael Moorcock, J. G. Ballard and Brian Aldiss) were British socialists and Marxists who rejected individualism, linear exposition, happy endings, scientific rigor and
3819-464: The style. The New Wave was influenced by postmodernism , surrealism , the politics of the 1960s, such as the controversy concerning the Vietnam War , and by social trends such as the drug subculture , sexual liberation , and environmentalism . Although the New Wave was critiqued for the self-absorption of some of its writers, it was influential in the development of subsequent genres, primarily cyberpunk and slipstream . The phrase "New Wave"
3886-558: The surrealist paintings of Max Ernst and Salvador Dalí . The British and American New Wave trends overlapped but were somewhat different. Judith Merril noted that New Wave SF was being called "the New Thing". In a 1967 article for The Magazine of Fantasy and Science Fiction she contrasted the SF New Wave of England and the United States, writing: They call it the New Thing. The people who call it that mostly don't like it, and
3953-459: The taste of America was sour in all our mouths"; she soon became a political refugee living in Canada. Roger Luckhurst disagreed with critics who perceived the New Wave mainly in terms of difference (he gives the example of Thomas Clareson), suggesting that such a model "doesn't quite seem to map onto the American scene, even though the wider conflicts of the 1960s liberalization in universities,
4020-484: The time it ceased regular publication it had rejected identification with the genre of science fiction itself, styling itself as an experimental literary journal . In the United States, the best known representation of the genre is probably the 1967 anthology Dangerous Visions , edited by Harlan Ellison . According to Brian W. Aldiss, during Moorcock's editorship of New Worlds , "galactic wars went out; drugs came in; there were fewer encounters with aliens, more in
4087-474: The time, such as Samuel R. Delany, Thomas M. Disch, and John Sladek, had their own agendas. James asserted the American New Wave did not reach the status of a "movement" but was rather a concordance of talent that introduced new ideas and better standards to the authoring of science fiction, including through the first three seasons of Star Trek . In his opinion, "...the American New Wave ushered in
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#17327872610284154-491: The war. Caution is needed when assessing any literary movement, particularly regarding transitions. Science fiction writer Bruce Sterling , reacting to his association with another SF movement in the 1980s, remarked, "When did the New Wave SF end? Who was the last New Wave SF writer? You can't be a New Wave SF writer today. You can recite the numbers of them: Ballard, Ellison, Spinrad, Delaney, blah, blah, blah. What about
4221-435: The work of Wang Jinkang and Liu Cixin , including Liu's Remembrance of Earth's Past trilogy (2006–2010), works that emphasize China's increase of power, the development myth, and posthumanity . The early proponents of New Wave considered it as a major change from with the genre's past, and it was so experienced by many readers during the late 1960s and early 1970s. New Wave writers often considered themselves as part of
4288-681: Was all a manufactured controversy, staged by fans to hype their own participation in the genre. Their total misunderstanding of what was happening (not unusual for fans, as history... shows us) managed to stir up a great deal of pointless animosity and if it had any real effect I suspect it was in the unfortunate area of causing certain writers to feel they were unable to keep up and consequently they slowed their writing output. Latham however remarks that Ellison's analysis "obscures Ellison's own prominent role—and that of other professional authors and editors such as Judith Merril, Michael Moorcock, Lester Del Rey, Frederik Pohl, and Donald A. Wollheim—in fomenting
4355-554: Was part of the basis of the New Wave fashion. Combined with controversial topics, it introduced innovations of form, style, and aesthetics, involving more literary ambitions and experimental use of language, with significantly less emphasis on physical science or technological themes in its content. For example, in the story " A Rose for Ecclesiastes " (1963), Roger Zelazny introduces numerous literary allusions , complex onomastic patterns, multiple meanings, and innovative themes, and other Zelazny works, such as " The Doors of His Face,
4422-502: Was the British magazine New Worlds , edited by Michael Moorcock , who became editor during 1964. In the United States, Harlan Ellison 's 1967 anthology Dangerous Visions is often considered as the best early representation of the genre. Worldwide, Ursula K. Le Guin , Stanisław Lem , J. G. Ballard , Samuel R. Delany , Roger Zelazny , Joanna Russ , James Tiptree Jr. (a pseudonym of Alice Bradley Sheldon), Thomas M. Disch and Brian Aldiss were also major writers associated with
4489-612: Was used generally for new artistic fashions during the 1960s, imitating the term nouvelle vague used for certain French cinematic styles. P. Schuyler Miller , the regular book reviewer of Analog Science Fiction and Fact , first used it in the November 1961 issue to describe a new generation of British authors: "It's a moot question whether Carnell discovered the ‘big names’ of British science fiction— Wyndham , Clarke , Russell , Christopher —or whether they discovered him. Whatever
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