Richard A. Lupoff

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Richard A. Lupoff

8 Quotations from Richard A. Lupoff

Betelgeusean adj. 1978 ‘A. E. Steele’ Buck Rogers in 25th Century x. 235 The chief communications console operator sat with his eyes glued to a red tracer screen, muffled earphones clapped to the sides of his head. An empty food tray stood forgotten on top of his console, nearly full containers of condiments and spices resting among the emptied dishes of roast Betelgeusan swamp hen and iced Plorusian slug-jell.
de Campian adj. 1977 R. Lupoff Lupoff's Book Week in Algol Summer–Fall 54/1 Alan Garner gives the fascinating story of his own mental set and the interrelationship between his emotional state and his creative work. In the process, he comes head-on into opposition with the de Campian notion that neurosis equals creativity, and the greater the neurosis the greater the creativity.
interplanetary n. 1967 D. Lupoff Bikey the Skicycle and Other Tales of Jimmieboy (review) in Algol (#12) 18 Mar. 49 The title story is of of JKB’s [sc. John Kendrick Bangs’s] few interplanetaries (Olympian Nights is another); Jimmieboy and an intelligent bicycle go to Jupiter, with amusing and sometimes stfish results.
Lovecraftian n. 1977 R. Lupoff Lupoff’s Book Week in Algol Spring 53/1 ‘The Feaster from Afar’ by Joseph Payne Brennan (an old-time horror-story writer and Lovecraftian) also gets a fair amount of Lovecraft’s New England rural feeling.
men in black n. 1982 R. A. Lupoff Documents in the Case of Elizabeth Akeley in Magazine of Fantasy & Science Fiction Mar. 146/1 She didn’t know much about ufology. She’d never heard about the men in black, even.
New Wave n. 1988 R. A. Lupoff New Wave in J. Gunn New Encyclopedia of Science Fiction 328 New Wave was a term first applied, by anthologist Judith Merril, to the avant-garde stories published in the British science-fiction magazine New Worlds for a few years after 1964. Some writers and critics deny that there ever was such a thing as the New Wave in SF. They are doubtless correct in the sense that the literary movement lacked organization, a broadly accepted credo, or a formal membership list. However, an identifiable group of writers and editors operating for approximately ten years, from the mid-1960s to the mid-1970s, did have an immense impact on the field. In retrospect there can be little doubt that they represented a defacto literary school, whether this was their conscious intention or not. The term New Wave was borrowed from the French cinema. In SF it originated in and was first published in New Worlds when that magazine was controlled by Michael Moorcock. Although the magazine had been published since 1946, it was only with Moorcock’s editorship eighteen years later that the movement began to coalesce. It should be noted, further, that the writers who participated in the movement had in many cases been writing well before this event. Further, the roots of and influences on New Wave writing had existed in general (mainstream) literature for many years. The essential nature of New Wave SF can best be seen in comparison with more traditional SF, particularly that categorized as ‘pulp’. Pulp SF is primarily concerned with physical problem solving and/or combat. Conflict is seen in terms of good protagonist versus bad antagonist (or occasionally natural catastrophe). Moral and psychological ambiguities are few. Style tends to be simple and structure of narration straightforward. In contrast, New Wave writers frequently saw problems as social or psychological in nature, subject to resolution only through radical alterations of the psyche or similarly radical restructurings of society. The conflict they wrote about is between the victimized individual and oppressive society or nature, or it takes the form of a pathological society at war with itself. Moral and psychological ambiguities lie at the heart of most New Wave stories. The movement is characterized by an emphasis on style and experimentation; the structure of the narration could be anything an author found successful. Resulting structural and linguistic experiments, although far from startling in the context of mainstream experimental or avant-garde literature, were startling to readers whose ears had been trained on the pages of Astounding Science Fiction. By these criteria, both GeorgeOrwell’s Nineteen Eighty-Four (1949) and Alfred Bester’s The Demolished Man (1953) may be seen as forerunners of the New Wave.
other-dimensional adj. 1979 R. Lupoff Lupoff's Book Week in Starship (#35) Summer 76/2 Seems that the demon is really an other-dimensional colleague of the defunct wizard, come to pay a friendly-rivalish visit. Now he’s stranded.
proto-science fiction n. 1976 R. A. Lupoff Literary Masochist in Science Fiction Review Feb. 24/2 He traces back to the days before the usually-cited founding fathers Jules et Herb to cover such proto-SF writers as Plato, Lucian (but of course!), Kepler, Swift, Mary Wollstonecraft and all the rest of that gang.