1960s which had such profound effects upon Western culture. It is no accident that the New Wave began in Britain at the time of the Beatles, and took off in the United States at the time of the hippies – both, therefore at a time of cultural innovation and generational shake-up... Eric S. Raymond observed: The New Wave's inventors (notably Michael Moorcock, J. G. Ballard and Brian Aldiss) were British socialists and Marxists who rejected individualism, linear exposition, happy endings, scientific rigor and the U.S.'s cultural hegemony over the SF field in one fell swoop. The New Wave's later American exponents were strongly associated with the New Left and opposition to the Vietnam War, leading to some rancorous public disputes in which politics was tangled together with definitional questions about the nature of SF and the direction of the field.}} For example, Judith Merril, "one of the most visible -- and voluble -- apostles of the New Wave in 1960s sf":251 remembers her return from England to the United States: "So I went home ardently looking for a revolution. I kept searching until the Chicago Democratic Convention in 1968. I went to Chicago partly to seek out a revolution, if there was one happening, and partly because my seventeen-year-old daughter... wanted to go." Merril said later, "At the end of the Convention week, the taste of America was sour in all our mouths"; she soon became a political refugee living in Canada. Roger Luckhurst disagreed with critics who perceived the New Wave mainly in terms of difference (he gives the example of Thomas Clareson), suggesting that such a model "doesn't quite seem to map onto the American scene, even though the wider conflicts of the 1960s liberalization in universities, the civil rights movement and the cultural contradictions inherent in consumer society were starker and certainly more violent than in Britain." In particular, he noted: The young turks within SF also had an ossified 'ancient regime' to topple: John Campbell's intolerant right-wing editorials for 'Astounding Science Fiction' (which he renamed 'Analog' in 1960) teetered on the self parody. In 1970, when the campus revolt against American involvement in Vietnam reached its height and resulted in the National Guard shooting four students dead in Kent State University, Campbell editorialized that the 'punishment was due', and rioters should expect to be met with lethal force. Vietnam famously divided the SF community to the