1964K. AmisScience Fiction in London Observer 23 Aug. 18/7
Delta and jungle, dream and hallucination, images of the collapse of time continue to oppress the man who refuses to leave his island or his planet when everyone else has been evacuated, the man who blinds himself rather than lose access to his traumatic inner vision, and other Ballardian isolates.
1960K. AmisNew Maps of Hell v. 133
Even The Space Merchants relies, as it goes on, more and more heavily upon Kornbluthian elements—there is a quite gratuitous scene with a female sadistic maniac who totes a sharpened knitting needle.
1960K. AmisNew Maps of Hell i. 18
Science fiction is that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesized on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin.
1960K. AmisNew Maps of Hell ii. 44
The other adjacent field competing with science fiction is conveniently described as space-opera, justly recalling the horse-opera which, under a skin of molecular thinness, it so much resembles. In space-opera, Mars takes the place of Arizona with a few physical alterations, the hero totes a blaster instead of a six-gun, bad men are replaced by bad aliens looking just like bad men with green skins and perhaps a perfunctory sixth digit, and Indians turn up in the revised form of what are technically known as bug-eyed monsters, a phrase often abbreviated to BEMs under the psychobiological law that terms frequently used will undergo shortening.
1960K. AmisNew Maps of Hell i. 37
The notion of an advancing technology increasing the destructive power of unscrupulousness reappears on a smaller scale in The Floating Island, where the huge artifact breaks up in mid-ocean as a result of rivalry between two financial cliques. The book closes with a straightforward Vernean sermon on the dangers of scientific progress considered as an embodiment of human arrogance.