Joanna Russ and the New Wave

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.

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):  
Gwyneth Jones

Joanna Russ (1937-2011) was an outstanding writer, critic, and theorist of science fiction at a time when female writers were marginal to the genre, and very few women, perhaps only Judith Merril and Joanna herself, had significant influence on the field. In her university teaching and in her writing she championed the integration of new social models and higher literary standards into genre works. In her review columns for the Magazine of Fantasy and Science Fiction she dissected the masters of the New Wave with appreciation, wit, and incisive intelligence. Her experimental novel The Female Man (1975) is an essential seventies Feminist text, still relevant today; her groundbreaking academic articles are recognized as foundation studies in feminist and science fiction literary scholarship. Drawing on Jeanne Cortiel’s lesbian feminist appraisal of Russ, Demand My Writing (1999), Farah Mendelsohn’s essay collection On Joanna Russ (2009), and a wide range of contemporary sources, this book aims to give context to her career in the America of her times, from the Cold War domestic revival through the 1960s decade of protest and the Second Wave feminism of the 1970s and 1980s, into the twenty-first century, examining her novels, her remarkable short fiction, her critical and autobiographical works, her role in the science fiction community, and her contributions to feminist debate.


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):  
Mike Ashley

Parallel to the emergence of cyberpunk in the USA there was a determined change in sf in the United Kingdom thanks primarily to David Pringle, editor of INTERZONE. This had started as a more literary sf magazine influenced by the New Wave of the 1960s but Pringle called for more hard-edged, radical technical science fiction and this saw the emergence of a new generation of writers including Stephen Baxter, Alastair Reynolds, Greg Egan, Geoff Ryman and Eric Brown. The success of INTERZONE saw a revival in sf magazines in Britain ranging from the extremist BACK BROWN RECLUSE to the more traditional DREAM.


Author(s):  
Greg Patmore ◽  
Nikola Balnave

The Rochdale consumer cooperative movements in Australia and the United States, while weak by international standards, have played a significant role in increasing the power of many consumers over the price, quality, and quantity of consumer goods. There have been peaks and troughs in the history of these co-ops for a variety of reasons including inflation, social unrest, competition from private retailers, the level of labor movement and state support, and the influence of immigrant groups. Prior to the end of World War II, Rochdale consumer cooperatives in both countries fluctuated in strength, but they declined in the postwar period with spectacular collapses during the 1980s. Since the 1960s, protest movements have encouraged a new wave of local food cooperatives, particularly in the United States.


Author(s):  
David L. Pike

Cold War Space and Culture in the 1960s and 1980s: The Bunkered Decades studies the two periods in which Americans were actively encouraged to build backyard shelters while governments exhausted their budgets on fortified super-shelters and megaton bombs. The dreams and nightmares inspired by the specter of nuclear destruction were expressed in images and forms of fallout shelters and other bunker fantasies from comics, movies, and pulp paperbacks to policy documents, protest movements, and survivalist tracts. Bunker fantasies stratified class, region, race, and gender and created often unrecognized through-lines leading from the 1960s and the less-studied 1980s into the present day. A substantial Introduction defines “bunker fantasy” and the meanings of shelter and security since the end of World War II. The five chapters of Part 1 taxonomize the primary and sometimes overlapping forms taken by the bunker and its fantasies during its first heyday in the years around the Cuban Missile Crisis of 1962: the basement or backyard shelter, suburbia, and the nuclear family; the cave, tribalism, and feral humanity; the private supershelter, survivalism, and self-reliance; the community shelter, infrastructure, and urban bunkerism; and the government supershelter, paranoia, and paternalism. The four chapters of Part 2 treat the new bunker fantasies that emerged around 1983, the closest the world had come to nuclear war since 1962, in general popular culture, men’s action fiction, nuclear realism, and feminist science fiction. A conclusion briefly discusses the legacy of these decades in today’s anxieties around security, borders, and apocalypse both real and imagined.


2016 ◽  
Vol 45 (2) ◽  
pp. 613-635
Author(s):  
Fabrice Defferrard
Keyword(s):  

Star Trek est un univers de science-fiction paradigmatique pour le droit. Il repose pour l’essentiel sur une architecture juridique et judiciaire complexe, inspirée d’un modèle universaliste mettant en valeur les libertés publiques, les droits fondamentaux et une justice équitable. Chargés d’explorer pacifiquement l’espace, les officiers de Starfleet nouent des liens de droit et résolvent des conflits de normes dans des situations parfois inédites qui font de cette divertissante saga un véritable laboratoire du droit.


PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 140-150 ◽  
Author(s):  
Janice Radway

The term zine is a recent variant of fanzine, a neologism coined in the 1930s to refer to magazines self-published by Aficionados of science fiction. Until zines emerged as digital forms, they were generally defined as handmade, noncommercial, irregularly issued, small-run, paper publications circulated by individuals participating in alternative, special-interest communities. Zines exploded in popularity during the 1980s when punk music fans adopted the form as part of their do-it-yourself aesthetic and as an outsider way to communicate among themselves about punk's defiant response to the commercialism of mainstream society. In 1990, only a few years after the first punk zines appeared, Mike Gunderloy made a case for the genre's significance in an article published in the Whole Earth Review, one of the few surviving organs of the 1960s alternative press in the United States. He celebrated zines' wide range of interests and the oppositional politics that generated their underground approach to publication.


2013 ◽  
Vol 5 (4) ◽  
pp. 639-649
Author(s):  
Katharina Andres

Since its creation in 1966, Star Trek has been a dominant part of popular culture and as thus served as the source for many cultural references. Star Trek’s creator Gene Roddenberry wanted to realize his vision of a utopia but at the same time, he used the futuristic setting of the show to comment on the present time, on ac-tual social and political circumstances. This means that each series can be regarded as a mirror image of the time in which it was created. The clothing of the characters in the different series is one part of that image. The uniforms of The Original Series show influences of the 1960s pop art movement as well as the mini-skirt trend that experienced its peak in that decade. In the course of almost 40 years, however, many things changed. In the 1990s, in Deep Space Nine and Voyager, a unisex uniform replaced the mini-dresses, with few exceptions; the colorful shirts gave way to ones that were mostly black. This trend continues into the new century. This essay interprets the evolution of the female officers’ uniforms from femi-nized dresses to androgynous clothing over the development of the series as a reflection of the change of gender roles in contemporary American society. The general functions of the female characters’ uniforms are the central object of its analysis while the few, but noteworthy exceptions to this pattern are given specific attention. Finally, one of the most intriguing lines of enquiry is, how the prequel series Enterprise, supposed to be set before The Original Series, but produced and aired from 2001 to 2005, fits in the picture.


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