Biotic Invasions: Ecological Imperialism in New Wave Science Fiction.

This essay examines a spate of SF novels and stories by Thomas M. Disch, J. G. Ballard, and others published during the 1960s and 70s that address imminent threats to human survival. Replacing 1950s-era tales of nuclear annihilation, these texts envisioned less immediate, but no less apocalyptic, sc...

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Publicado en:Yearbook of English Studies Vol. 37; no. 2; pp. 103 - 120
Autor principal: Latham, Rob
Formato: Literary Criticism
Publicado: Modern Humanities Research Association 2007
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Acceso en línea:Ver este registro en EBSCOhost
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        atl: Biotic Invasions: Ecological Imperialism in New Wave Science Fiction.
      aug:
        au: Latham, Rob
        affil: University of Iowa
      su:
        Science fiction
        Human ecology in literature
        Technological innovations
        Disch, Thomas M., 1940-2008
        Ballard, J. G., 1930-2009
        Ruins of Earth, The (Book)
        Glicksohn, Susan
        Aspidistra (Book)
      sug:
        subj:
          Science fiction
          Human ecology in literature
          Technological innovations
          Disch, Thomas M., 1940-2008
          Ballard, J. G., 1930-2009
          Ruins of Earth, The (Book)
          Glicksohn, Susan
          Aspidistra (Book)
      ab: This essay examines a spate of SF novels and stories by Thomas M. Disch, J. G. Ballard, and others published during the 1960s and 70s that address imminent threats to human survival. Replacing 1950s-era tales of nuclear annihilation, these texts envisioned less immediate, but no less apocalyptic, scenarios involving the wholesale extinction of life on earth. The discussion attempts to place these works in the larger context of the growth of ecological science and the environmental movement, which inspired specific consciousness-raising efforts such as Disch's 1971 theme anthology The Ruins of Earth, and Susan Glicksohn's ecologically oriented fanzine from the 1970s, Aspidistra. The overall goal of the essay is to see how SF began to take a critical, species-wide view of the technological 'progress' that the genre had traditionally celebrated.
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