1930s, the editor of Amazing Stories, the scientist and science journalist T. O'Conor Sloane, wrote "'mundane science fiction’ before that term ever existed, and he banned faster-than-light travel from science fiction stories" in the magazine, so writers began using "dream narratives… as a way to travel through time and space and time." Nataliya Krynytska states that in the 1940s and 1950s, Soviet literature had a genre called «near-future science fiction». Describing the context for the emergence of MSF, Christopher Cokinos cites Chris Nakashima-Brown in noting that a considerable body of science fiction entails fantasies about escape from scientific reality: "the escape from the subtly Nihilistic dominion of reason in the post-Enlightenment West, into a generically unbound Jungian Disneyland...". He argues that in the Golden Age of Science Fiction, stodgy tales of space opera "bland prose" and "formulas of planetary romances, über-robots, and cold equations" dominated. He also points out that SF writer Thomas Disch has similarly opined that the preference for weak, implausible depictions of science in sci fi is an "American aspect of our 'lie-loving' culture" used by readers for escapism. Some Golden Age writers, however, such as Theodore Sturgeon, Philip José Farmer, and Ray Bradbury did transcend these formulas and developed nuanced characters and stories. Cokinos goes on to state that in the 1960s, various authors launched science fiction's New Wave, when "stylistic experimentation" in the writing and new topics meant less formulas and clichés. The authors had a profound "skepticism about science and technology", and there was an examination of "inner space" (J. G. Ballard), "feminist...critiques, and ecology (Frank Herbert’s Dune). Similarly, BBC TV critic Hugh Montgomery notes that J.G. Ballard believed that the Golden Age’s focus on advanced interstellar spaceships was "clichéd and unilluminating", preferring to write stories about humans’ "next five minutes" and "near future", which is "immediately recognisable to us, but invariably with a pretty unpleasant twist or three." In Damon Knight's (1922-2002) essay entitled "Goodbye, Henry J. Kostkos, Goodbye", from the 1972 Clarion II workshop, he criticizes "old guard" science fiction, including space operas and stories about travel between stars and space colonization. Knight states that "it [would] perhaps be better to stay on this planet, clean it up a little, and reduce our numbers to some reasonable figure". 1990s-2000s In Nader Elhefnawy's book The End of Science Fiction?, he cites John Horgan's 1996 book The End of Science, which claims that science