New Wave Science Fiction and the Counterculture

Author(s):  
Shannon Davies Mancus
Keyword(s):  
Joanna Russ ◽  
2019 ◽  
pp. 20-38
Author(s):  
Gwyneth Jones

“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university teacher at Cornell, and discusses modernism in sf, Joanna’s role as interpreter of the British “New Worlds” writers and the American New Wave and her response to the protest movements and cultural revolutions of the 1960s (in the psychedelic “Modernist novel by a Star Trek fan”) And Chaos Died. Essays and stories (1968-1971) examined include the important “The Wearing Out of Genre Materials,” and autobiographical short fictions that foreshadow The Female Man and illuminate And Chaos Died.


2020 ◽  
pp. 120633122090526
Author(s):  
Zeynep Tuna Ultav ◽  
Müge Sever

With the supposition that architectural discourse has an interdisciplinary nature, this study aims to display the way literary fiction borrows several themes from architectural discourse in order to form its “literary spaces” as well as the way architectural discourse borrows several themes from other social sciences, especially from sociology. Thus, new wave science fiction writer J.G. Ballard’s literature provides a fruitful resource for the construction of this study. It will be demonstrated that spatial data within the five selected works of Ballard exist in a similar way within architectural discourse of the recent past that criticizes modern architectural movement via several themes. An analysis will be made parallel to the discourses of the critiques of modern architectural discourse. In this sense, intersecting both the discourse of architecture and that of Ballard, there emerge three common themes to focus on: social isolation, class discrimination as a result of social isolation, and alienation in the modern world. While displaying the mediatory role of architectural discourse between sociology and literary fiction through reading in the spatiality of the text, the study will also draw lessons to be learned from Ballard’s works emphasizing the production of design theory through the field of discourse.


Author(s):  
Jad Smith

Under his own name and numerous pseudonyms, John Brunner (1934–1995) was one of the most prolific and influential science fiction authors of the late twentieth century. During his exemplary career, the British author wrote with a stamina matched by only a few other great science fiction writers and with a literary quality of even fewer, importing modernist techniques into his novels and stories and probing every major theme of his generation: robotics, racism, drugs, space exploration, technological warfare, and ecology. This book, an intensive review of Brunner's life and works, demonstrates how Brunner's much-neglected early fiction laid the foundation for his classic Stand on Zanzibar and other major works such as The Jagged Orbit, The Sheep Look Up, and The Shockwave Rider. Making extensive use of Brunner's letters, columns, speeches, and interviews published in fanzines, the book approaches Brunner in the context of markets and trends that affected many writers of the time, including his uneasy association with the “New Wave” of science fiction in the 1960s and 1970s. This book shows how Brunner's attempts to cross-fertilize the American pulp tradition with British scientific romance complicated the distinctions between genre and mainstream fiction, and between hard and soft science fiction, and helped carve out space for emerging modes such as cyberpunk, slipstream, and biopunk.


Author(s):  
Jad Smith

Like Isaac Asimov and Robert A. Heinlein, science fiction author Alfred Bester started his career as a pulp writer and finished it as a Grand Master, but he followed a far more curious path to the field’s highest honor than either of his big-name contemporaries. He focused on SF only intermittently yet, as a result, developed a distinctive, outsider approach that opened up avenues for cutting-edge vanguards such as New Wave and cyberpunk. Making extensive use of Bester’s unpublished correspondence, this book carefully examines Bester’s entire career, giving particular attention to how his work across mediums, combined with his love of modernist and decadent authors, shaped his groundbreaking approach to science fiction. During the 1950s, Bester crossbred pulp aesthetics and high style to explosive effect, producing landmark novels and stories that crackled with excess and challenged the assumptions of Golden Age science fiction. His focus on language as a plot device and a tool for world-building, and his use of modernist style in the service of science-fictional extrapolation left the field changed forever. The book argues that what Bester brought to SF was not a radically new template but an idiosyncratic self-reflexivity about the writing and reading protocols of the genre that put the field into a highly productive and transformative dialogue with itself.


Author(s):  
Tadashi Nagasawa

American science fiction has been a significant source of ideas and imagination for Japanese creators: they have been producing extensive works of not only written texts but also numerous films, television shows, Japanese comics and cartoons (Manga and Animé), music, and other forms of art and entertainment under its influence. Tracing the history of the import of American science fiction works shows how Japan accepted, consumed, and altered them to create their own mode of science fiction, which now constitutes the core of so-called “Cool-Japan” content. Popular American science fiction emerged from pulp magazines and paperbacks in the early 20th century. In the 1940s, John W. Campbell Jr. and his magazine Astounding Science Fiction had great impact on the genre, propelling its “Golden Age.” In the 1960s, however, American science fiction seemed dated, but the “New Wave” arose in the United Kingdom, which soon affected American writers. With the cyberpunk movement in the 1980s, science fiction became part of postmodernist culture. Japanese science fiction has developed under the influence of American science fiction, especially after WWII. Paperbacks and magazines discarded by American soldiers were handed down to Japanese readers. Many would later become science fiction writers, translators, or editors. Japanese science fiction has mainly followed the line of Golden Age science fiction, which speculates on how science and technology affect the social and human conditions, whereas the New Wave and cyberpunk movements contributed to Japanese postmodernism. Japanese Manga, Animé, and special effects (SFX) television shows and films (Tokusatsu) are also closely related to science fiction and have developed under its influence. Even as works of the Japanese popular culture owe much to American science fiction, they have become popular worldwide.


Author(s):  
Mingwei Song

The marginalized genre of science fiction has experienced an unprecedented boom in China in recent years, a “new wave” of writing that reinvents the genre by infusing it with a new literary self-consciousness and a new social awareness and by representing the complex realities and fantasies of a changing China and a changing world. The discussion of Chinese science fiction in this chapter, with a focus on works by Han Song and Liu Cixin, centers on the representation of the invisible: science fiction as an invisible genre, the new wave’s representation of the “invisible” reality of China, and tropes of invisibility in the texts themselves. By working with and through invisibility, these texts transgress mainstream literary realism and official political discourse. The chapter ends with a coda featuring a brief discussion of the invisible “posthumans” among China’s migrant workers as featured in Chen Qiufan’s novelThe Waste Tide.


2018 ◽  
pp. 107-128
Author(s):  
Mingwei Song

This chapter introduces the life and work of Liu Cixin, a Chinese science-fiction writer who has played a major role in reviving the genre in twenty-first-century China. The chapter discusses Liu’s work in the context of the genre’s history in China. Liu and other writers belonging to the same generation have created a new wave, in which the genre has gained unprecedented popularity in China. The main part of the chapter analyzes several major works by Liu and attempts to theorize the aesthetics and politics of the new wave as represented in Liu’s stories and novels. The new wave makes visible the hidden dimensions of Chinese science fiction, together with the darker side of reality that it speaks to.


2021 ◽  
pp. 362-381
Author(s):  
A.S. Kolesnik ◽  
◽  

The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.


Ideal Minds ◽  
2020 ◽  
pp. 31-66
Author(s):  
Michael Trask

This chapter discusses how IQ reappeared in the era as a proper measure of personhood. Numerous figures looked to psychometrics as confirming the objective existence of separate subjectivities. Examining the promise and defeat of artificial intelligence in philosophy of mind and New Wave science fiction, the chapter shows that a suspicion of Great Society welfarism took hold among writers with little in common except their commitment to the idea that human minds could neither be replicated by machines nor reconfigured by state institutions without injury to personhood. If there is something weird about reviving not just classical IQ science but also classical liberalism, at least one can trace the motivation for such retrievals to the widespread seventies attitude that the present itself had little to offer by way of solutions to social problems. Many forward-thinking or progressive figures in the decade preferred to look to the past, a habit of mind that hastened the collapse of the present.


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