Brian Aldiss - Collected Essays

Of course, individual issues were often disappointing. But the ritual of a magazine, its layout, its expectations, its continuity, its hazardous pact with readers and authors, elevates it to a sort of protolanguage which speaks as strongly as its actual fiction content. The ritual suggested that the future had arrived with a flutter of colour supplements and mini-skirts and was securely nailed to New Worlds ’ editorial desk. The rather twitchy hedonism of New Worlds had no need to look ahead, and the galaxy began in Ladbroke Grove.

In the decidedly more sombre mood of the seventies, all this may sound silly. Naturally, it was easy to hate New Worlds, which often opted for trendiness rather than depth—though trendiness in those days was almost a philosophy in itself. But the feeling that the future has happened is not as perverse as it seems. Our Western culture has in many ways fulfilled the targets established in the early Renaissance: to take control of our world through observation and understanding and application. Enormous benefits have accrued to us. The life of the average man in the West, as regards both his physical and his mental horizons, has been much enhanced by the impetus of that aspiration. Now the bills for our astonishing performance, centuries long, are coming in. We see that progress and pollution, medical discoveries and over-population, technical development and nuclear escalation, improved communications and terrorism, social care and public apathy are sides of the same coin. Further advances are increasingly hard-won; moreover, the Oil Crisis in the early seventies rang like a tocsin through the West, reminding its citizens that the hour grew late and Toynbee’s Civilization Number Twenty-Two was losing autonomy. Our alternatives grow fewer. New Worlds was the first SF magazine in the world to abandon the idea that technological progress could be extrapolated for ever; as such, it may be honoured for having been truly prodromic.

Hardly surprising, then, that it often radiated a hard shiny surface of scepticism, the cool of slight desperation. Boiling eggs to Mozart—the whole comedy of misapplication—was New Worlds’ thing. The dominant figure here was J. G. Ballard, with his postlapsarian guilts and a genuine power to embody the landscapes of subtopia in skeletal fiction. It is possible that New Worlds ultimately damaged Ballard’s development by overlauding the sadistic side of his work; but he is and remains a genuine original and an acute observer. Ballard threw away the old pack of cards. His new ones may not be to everyone’s taste, but they are his own. He has the courage of his convictions, and his best stories remain the best. If he often seems to use other authors as models—Jarry, as in the piece we anthologize here, Kafka, Greene, Conrad, Burroughs—the benefit of a post-Renaissance period is that we are heirs to all styles, and Ballard moulds each to his own purpose.

Moorcock rightly seized upon Ballard, but also forged his own fictional hero, Jerry Cornelius. Cornelius is in fact neither hero nor anti-hero, but a sort of myth of the times. He can be male or female, white or black. Moorcock encouraged this ambiguous aspect by persuading other writers to chronicle the adventures of Cornelius; is Norman Spinrad’s Jerry, in the typically cool and comic account of the ‘The Last Hurrah of the Golden Horde’.

Spinrad was one of a number of American writers who found the English cultural climate more congenial than the American one. His chief contribution to New Worlds was Bug Jack Barron, serialized at inordinate length; its use of four-letter words, together with a modicum of sexual intercourse, oral sex and other pleasures, led to a banning of New Worlds by W. H. Smith and the denunciation of Spinrad in Parliament as a degenerate—the sort of accolade most writers long for. Barron is a powerful novel about the role of television and government, powerfully over-written.

Among other expatriates who drifted through was Thomas M. Disch, a distinguished writer whose stories move easily between being flesh, fowl, and good red herring. Disch’s greatest contribution to New Worlds was the novel Camp Concentration. A friend of his, John Sladek, settled in London, and has become one of SF’s leading comedians and parodists. Pamela Zoline, primarily an artist, also came over and settled here.

Among the English authors encouraged by Moorcock were Langdon Jones, Hilary Bailey, David Masson, Robert Holdstock and Ian Watson. Moorcock has gone on to greater things and is a legend in his own time. With the maverick New Worlds, he brought British SF kicking and screaming into the twentieth century.

News of the English revolution percolated back to the United States, where it had imitators who seem mainly to have thought the issue rested on writing as wildly and fuzzily as possible. But the times they were a-changing rapidly in the States as elsewhere, and many authors emerged with genuine fresh approaches to experience. One of them was Harvey Jacobs. Comic writers are always welcome in a field which frequently inclines to the ponderous; but Jacobs found he was most welcome by Mike Moorcock. Among the other new names were Will Worthington, who showed, like Disch, some kinship with the Theatre of the Absurd; he came and went all too fast, but shall be remembered by his excellent story, first published by Ted Carnell, ‘The Food Goes in the Top’.

Roger Zelazny came and stayed. A genuine baroque talent, often too much in love with the esoteric, but shining forth clearly with ‘Devil Car’. His story is a persuasive embodiment of the sixties’ passion for the automobile.

Keith Laumer rose to great popularity in the sixties, when his name was associated with Retief, his hero whose military adventures had a satiric edge.

The other authors include Kurt Vonnegut, Jr, Gordon R. Dickson, Philip K. Dick, Frederik Pohl, Robert Silverberg and Mack Reynolds—distinguished names all, and old hands at SF. All manifest the spirit of the sixties in one form or another—Reynolds in his enquiry into capitalist economics, Vonnegut in his satire on equality, Pohl in his sparky creation of Day Million, Dickson in his preoccupation with the blindness of computers. Silverberg re-creates the past, the far past. Dick does his own thing on the Dickian subject of reality. Reality trembled in the sixties. As many of us discovered, when things settled back into place again and the music died, life ceased to be quite so much fun.

B.W.A.

1. Although the jacket of the first hardcover edition in 1954 quoted the perceptive Naomi Mitchison as saying. ‘It’s really super science fiction’.