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New Wave (science fiction)
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New Wave (science fiction)
The New Wave was a science fiction movement of the 1960s and 1970s, characterized by a great degree of experimentation with the form and content of stories, often influenced by the styles of non-science fiction literature, and an emphasis on 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 was the British magazine New Worlds, edited by Michael Moorcock, who became editor during 1964. In the United States, Judith Merril's anthologies and Harlan Ellison's 1967 anthology Dangerous Visions are often considered as the best early representations of the movement. 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 the movement. Moorcock wanted writers to borrow from the genre's techniques but encouraged writers to develop their own styles. Apart from Moorcock and Ballard, authors included Hilary Bailey, Barrington Bayley, M. John Harrison, Pamela Zoline, Rachel Pollack and Christopher Priest.
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 movements, including cyberpunk and slipstream. Authors like Michael Chabon and Hari Kunzru are also considered among later authors of New Wave fiction.[citation needed]
The phrase "New Wave" 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 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".:76 New Wave Fabulism itself has been related to 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 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 to be a major change from the genre's past, and that is the way that it was experienced by many readers during the late 1960s and early 1970s. New Wave writers often considered themselves as part of 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; rejecting an emphasis on physical science and adventures in outer space, they preferred to examine human psychology, 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, 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.
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New Wave (science fiction)
The New Wave was a science fiction movement of the 1960s and 1970s, characterized by a great degree of experimentation with the form and content of stories, often influenced by the styles of non-science fiction literature, and an emphasis on 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 was the British magazine New Worlds, edited by Michael Moorcock, who became editor during 1964. In the United States, Judith Merril's anthologies and Harlan Ellison's 1967 anthology Dangerous Visions are often considered as the best early representations of the movement. 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 the movement. Moorcock wanted writers to borrow from the genre's techniques but encouraged writers to develop their own styles. Apart from Moorcock and Ballard, authors included Hilary Bailey, Barrington Bayley, M. John Harrison, Pamela Zoline, Rachel Pollack and Christopher Priest.
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 movements, including cyberpunk and slipstream. Authors like Michael Chabon and Hari Kunzru are also considered among later authors of New Wave fiction.[citation needed]
The phrase "New Wave" 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 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".:76 New Wave Fabulism itself has been related to 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 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 to be a major change from the genre's past, and that is the way that it was experienced by many readers during the late 1960s and early 1970s. New Wave writers often considered themselves as part of 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; rejecting an emphasis on physical science and adventures in outer space, they preferred to examine human psychology, 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, 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.