Editing New Wave (science fiction) (section)

=== Style ===
Transformation of style was part of the basis of the New Wave fashion.<ref>{{Cite book|last=Aldiss|first=Brian W.|title=Trillion year spree : the history of science fiction|date=2004|publisher=Royal National Institute of the Blind|oclc=939659718}}</ref><sup>:286</sup> 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.<ref>{{Citation|last=Roberts|first=Adam|title=The Impact of New Wave Science Fiction 1960s–1970s|year=2006|work=The History of Science Fiction|pages=230–263|place=London|publisher=Palgrave Macmillan UK|doi=10.1057/9780230554658_11|isbn=978-0-230-54691-2}}</ref> For example, in the story "[[A Rose for Ecclesiastes]]" (1963), [[Roger Zelazny]] introduces numerous literary [[allusion]]s, complex [[Onomastics|onomastic]] patterns, multiple meanings, and innovative themes, and other Zelazny works, such as "[[The Doors of His Face, the Lamps of His Mouth]]" (1965) and [[The Dream Master|''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 journalism|gonzo]]-style syntax. Many New Wave authors used obscenity and vulgarity intensely or frequently.<ref name="Taylor 1990 611–627">{{Cite journal|last=Taylor|first=John W.|year=1990|title=From Pulpstyle to Innerspace: The Stylistics of American New-Wave SF|journal=Style|volume=24|issue=4|pages=611–627|jstor=42946165|issn=0039-4238}}</ref> Concerning visual aspects, some scenes of J. G. Ballard's novels reference the surrealist paintings of [[Max Ernst]] and [[Salvador Dalí]].<ref name=":5" />