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New Wave Science Fiction
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New Wave Science Fiction was a literary movement of the 1960s and 1970s; a rejection of the simplistic action-adventure stories of the "Golden Age" in favor of more literary and experimental forms of SF and Fantasy, with more emphasis on writing and creativity and less on "hard" science, and, well, plot. The Sixties were a turbulent time (to put it mildly), and the SF community in those days was a small and relatively insular one, so the New Wave became massively controversial within that community. The New Wave was strongly associated with the Youth Movement of the sixties and was regarded with much the same distrust and fear by older and more conservative types. While the origins of the New Wave are somewhat murky, most agree that Michael Moorcock spearheaded the movement with his New Worlds magazine, which, when he took over in 1964, began focusing exclusively on experimental and literary SF works. Two anthologies — England Swings SF, edited by Judith Merril, and Dangerous Visions, edited by Harlan Ellison — helped crystalize the movement. Dangerous Visions, in particular, which called for "stories that could not be published elsewhere or had never been written in the face of almost certain censorship by SF editors", helped make what had been a primarily British movement into an international one. The writers of the New Wave began looking beyond SF for inspiration, and Beat writer William S. Burroughs was mentioned by many as a major influence. Much like the Youth Movement, the New Wave gradually faded away as its members got older and/or found that really experimental writing had a very limited market. The cohorts of writers and readers most associated with this movement were either Beat generation or baby boomers engrossed in the counterculture of The '60s. Both lost relevance by the end of The '70s. As most movements do, it also faced a backlash from a new generation of writers who brought back scientific accuracy, action and adventure (this in particular was aided and abetted by publishers after Star Wars became a mega-hit, as they felt works in the same style would sell better), or both; often matching the literary chops of the by-now venerable New Wave writers, who started to be seen as pretentious intellectual lightweights at best, Bourgeois Bohemians at worst. It did have a major lasting impact on the field, though — opening up science fiction to all sorts of new ideas and styles, many of which are still common today — and it left in its wake several works that are still very highly regarded. However, it soon disappeared as a distinct movement, to be replaced with the Cyberpunk controversies of the 1980s. Also contributing to the decline of the New Wave trend was the maturation of hard science fiction away from the formulaic and restrictive Campbellian formula. Authors such as Larry Niven and Arthur C. Clarke returned the "sense of wonder" and adventure while also updating the science and introducing new modern sensibilities by discarding Campbell's "human chauvinism", Values Dissonance, and other elements that date a lot of Golden Age science fiction.note Campbell, himself, was problematic as he was unfortunately, not progressive in his views towards non-Whites. The same also occurred for Space Opera, which was given another lease on life by the success of the first Star Wars film in 1977. More complex and polished writing and characterization, along with again updated sensibilities, breathed new life into a Sub-Genre which was for decades almost a Dead Horse Trope. The ideas of the British New Wave were to some extent continued in early issues of Interzone in The '80s. The New Weird movement has been suggested by some as a partial rebirth of the New Wave. And for the record, Philip K. Dick was never particularly associated with or identified with the New Wave — his brand of weirdness was unique. |
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A Boy and His Dog was based on a 1969 story by Harlan Ellison that was originally published in New Worlds. | |
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