Editing New Wave (science fiction) (section)

==Authors and works==
The New Wave was not a formal organization with a fixed membership. [[Thomas M. Disch]], for instance, rejected his association with some other New Wave authors.<ref>{{Cite book|last=Nicholls|first=Peter|title=The science fiction encyclopedia|date=1979|publisher=Doubleday|isbn=978-0-385-13000-4|location=Garden City, NY|language=en|oclc=1069138048}}</ref><sup>:425</sup> Nonetheless, it is possible to associate specific authors and works, especially anthologies, with the fashion. [[Michael Moorcock]], [[J. G. Ballard]], and [[Brian Aldiss]] are considered principal writers of the New Wave.<ref name=":5">{{Cite book|last=Steble|first=Janez|title=Novi val v znanstveni fantastiki ali eksplozija žanra New wave in science fiction or the explosion of the genre: doktorska disertacija|date=2014|publisher=J. Steble|oclc=898669235}}</ref> [[Judith Merril]]'s annual anthologies (1957–1968<ref>{{Cite web|title=Merril &#124; Best SF|date=February 28, 2004 |url=http://bestsf.net/category/reviews/years-best/merril/|access-date=2022-12-29|language=en-US}}</ref>) "were the first heralds of the coming of the [New Wave] cult,"<ref name=":6" /><sup>:105</sup> and [[Damon Knight]]'s ''[[Orbit (anthology series)|Orbit]]'' series and [[Harlan Ellison]]'s ''[[Dangerous Visions]]'' featured American writers inspired by British writers as well as British authors.<ref name="landon" /> Among the stories Ellison printed in ''Dangerous Visions'' were [[Philip José Farmer]]'s ''[[Riders of the Purple Wage]]'', [[Norman Spinrad]]'s "Carcinoma Angels", [[Samuel R. Delany]]'s "[[Aye, and Gomorrah]]" and stories by Brian Aldiss, J. G. Ballard, [[John Brunner (novelist)|John Brunner]], [[David R. Bunch]], [[Philip K. Dick]], [[Sonya Dorman]], [[Carol Emshwiller]], [[John Sladek]], [[Theodore Sturgeon]], and [[Roger Zelazny]].<ref name="landon" />

[[Alfred Bester]] was championed by New Wave writers and is seen as a major influence.<ref name=":32"/><ref>{{Cite book|last=Smith|first=Jad|title=Alfred Bester|date=November 15, 2016|publisher=University of Illinois Press|doi=10.5406/illinois/9780252040634.001.0001|isbn=978-0-252-04063-4}}</ref> Thomas M. Disch's work is associated with the New Wave, and ''[[The Genocides]]'' has been seen as emblematic of the genre, as has the 1971 Disch anthology of eco-catastrophe stories ''The Ruins of Earth''.<ref name=":42"/> Critic John Clute wrote of [[M. John Harrison]]'s early writing that it "...reveals its New-Wave provenance in narrative discontinuities and subheads after the fashion of J. G. Ballard".<ref>Of the early work, "... reveals its New-Wave provenance in narrative discontinuities and subheads after the fashion of J. G. Ballard": entry on Harrison by John Clute in {{Harvnb|Clute|Nicholls|1999}}</ref>

Brian Aldiss's ''Barefoot in the Head'' (1969) and [[Norman Spinrad]]'s ''No Direction Home'' (1971) are seen as illustrative of the effect of the [[Counterculture of the 1960s#Marijuana, LSD, and other recreational drugs|drug culture]], especially psychedelics, on New Wave.<ref name=":5" /> On the topic of entropy, Ballard provided "an explicitly cosmological vision of entropic decline of the universe" in [[The Voices of Time (short story)|"The Voices of Time"]], which provided a typology of ideas that subsequent New Wave writers developed in different contexts, with one of the best instances being [[Pamela Zoline]]'s "The Heat Death of the Universe".<ref name="ballard12"/>{{rp|158}} Like other writers for ''New Worlds'', Zoline used "science-fictional and scientific language and imagery to describe perfectly 'ordinary' scenes of life", and by doing so produced "altered perceptions of reality in the reader".<ref name="James, Edward, 1947–1994"/> New Wave works engaging with utopia, gender, and sexuality include Ursula K. Le Guin's ''[[The Left Hand of Darkness]]'' (1969), Joanna Russ's ''[[The Female Man]]'' (1975), and [[Marge Piercy]]'s ''[[Woman on the Edge of Time]]'' (1976).<ref name=":5" /><sup>:82–85</sup> In [[Robert Silverberg]]'s story [[The Man in the Maze (novel)|''The Man in the Maze'']], in a reversal typical of the New Wave, Silverberg portrays a disabled man using an alien labyrinthine city to reject abled society.<ref>{{Citation|last=Cape|first=Robert W.|title=Disabled Hero, Sick Society|year=2013|work=Disability in Science Fiction|pages=143–151|place=New York|publisher=Palgrave Macmillan US|doi=10.1057/9781137343437_11|isbn=978-1-349-46568-2}}</ref> Samuel R. Delany's ''[[Babel-17]]'' (1966) provides an example of a New Wave work engaging with Sapir-Whorfian [[linguistic relativity]], as does [[Ian Watson (author)|Ian Watson]]'s ''The Embedding'' (1973).<ref name=":5" /><sup>:86–87</sup>

Two examples of New Wave writers using utopia as a theme are Ursula K. Le Guin's ''[[The Dispossessed|The Dispossessed: An Ambiguous Utopia]]'' (1974) and Samuel R. Delany's ''[[Triton (novel)|Trouble on Triton: An Ambiguous Heterotopia]]'' (1976),<ref name=":5" /><sup>:74–80</sup> while [[John Brunner (novelist)|John Brunner]] is a primary exponent of [[dystopian]] New Wave science fiction.<ref>"The element of dystopia in New-Wave writing was particularly dramatic in the case of John Brunner": entry on New Wave by Peter Nicholls in {{Harvnb|Clute|Nicholls|1999}}</ref>

Examples of [[Literary modernism|modernism]] in New Wave include Philip José Farmer's [[James Joyce|Joycean]] ''[[Riders of the Purple Wage]]'' (1967), John Brunner's ''[[Stand on Zanzibar]]'' (1968), which is written in the style of [[John Dos Passos|John Don Passos]]'s [[U.S.A. (trilogy)|''U.S.A.'' trilogy]] (1930–1936), and Thomas Disch's ''[[Camp Concentration]]'', which includes a stream of literary references, including to [[Thomas Mann]].<ref name=":5" /><sup>:61–62</sup> The influence of postmodernism in New Wave can be seen in Brian Aldiss's ''[[Report on Probability A]]'', Philip K. Dick's ''[[Ubik]]'', J. G. Ballard's collection ''[[The Atrocity Exhibition]]'', and Samuel R. Delany's ''[[Dhalgren]]'' and ''[[Triton (novel)|Triton]]''.<ref name=":5" /><sup>:66–67</sup>

The majority of stories in [[Ben Bova]]'s ''The Best of the Nebulas'', such as Roger Zelazny's "[[A Rose for Ecclesiastes]]", are considered as being by New Wave writers or as involving New Wave techniques.<ref name="Taylor 1990 611–627"/> ''The Martian Time-Slip'' (1964) and other works by Philip K. Dick are viewed as New Wave.<ref name=":5" />

Brian Aldiss, Harlan Ellison, Robert Silverberg, Norman Spinrad, and Roger Zelazny are writers whose work, though not necessarily considered New Wave at the time of publication, later became associated with the term.<ref name="encyc_new-wave" />{{Page needed|date=April 2024}} Of later authors, some of the work of Joanna Russ is considered to bear stylistic resemblance to New Wave.<ref>"... wrote in a style that would have been called New Wave only a year or so earlier": entry on New Wave by Peter Nicholls in {{Harvnb|Clute|Nicholls|1999}}</ref><ref>{{Cite book|last1=Newell|first1=D.|title=On Joanna Russ|last2=Tallentire|first2=J.|date=2009|publisher=Wesleyan University Press|isbn=978-0-8195-6968-4|editor-last=Mendlesohn|editor-first=Farah|chapter=Learning the 'prophet business': The Merril-Russ intersection|oclc=662452558}}</ref>